in 


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1i 


V  1  i  1925 


JAi 


1941 


SOUTHERN  BRANnu. 

*^^mv^nsi, Y  OF  calSia 

LIBRARY  ' 

^S  ANGELES.  6auf. 


Digitized  by  the  Internet  Archive 

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PREFACE  TO  THE  SECOND  EDITION. 


THE  demand  for  a  new  edition  of  "  Famous  Sculptors 
and  Sculpture "  has  led  to  an  extended  revision 
and  correction  of  the  whole  work.  It  has  been  consid- 
erably enlarged  by  the  addition  of  biographical  sketches 
of  modern  sculptors,  and  descriptions  of  their  works, 
making  it  a  more  complete  history  to  the  present  time. 

A  number  of  the  illustrations  found  in  the  first 
edition  are  retained,  wliile  new  and  attractive  ones  have 
been  inserted,  giving,  it  is  hoped,  a  fresh  interest  to  this 
work,  and  to  the  general  study  of  sculpture. 

lIi..iii!ANK,  OctDlier,  1895. 


\   0  b 


PREFACE. 


THE  aim  of  this  work  is  to  give  in  a  condensed  form 
such  authentic  knowledge  of  the  great  sculptors  of 
ancient  and  modern  times  as  can  be  obtained,  and  a  de- 
scription of  the  masterpieces  of  sculpture  now  existing. 

The  record  commences  with  the  dawning  of  the  best 
period  of  Greek  and  Eoman  art,  giving  an  account  of  the 
most  celebrated  sculptors  and  their  works  to  the  decline 
of  classic  art.  Commencing  again  with  the  revival  of  art 
in  Italy,  as  shown  in  the  works  of  Niccola  Pisano,  who 
flourished  in  the  early  part  of  the  thirteenth  century, 
and  who  is  honored  as  "tlie  father  of  modern  sculpture," 
it  extends  to  tlie  present  time,  not,  however,  including 
living  sculptors. 

Much  valuable  information  concerning  the  history  of 
Italian  art  has,  during  the  last  few  years,  been  gained 
through  the  examination  and  puljlication  of  documents 
hitherto  unknown,  or  unsearched.  Tlie  jiresent  volume 
has  been  prejtared  with  careful  reference  to  the  latest  and 
nujst  important  of  these  jtublications,  and  with  the  en- 
deavor to  give  a  just  prominence  to  facts,  while  cxer- 


vi  PREFACE. 

cising  discrimination  in  regard  to  matters  of  opinion  or 
conjecture. 

The  Catalogue  of  Sculptures  has  been  carefully  pre- 
pared, and  includes  a  large  proportion  of  the  best  works 
of  the  sculptors  mentioned  in  the  biographical  part  of 
the  work,  and  many  of  the  most  remarkable  remains  of 
antique  sculpture  by  unknown  artists.  To  this  is  added 
a  list  of  interesting  works  by  modern  sculptors,  both 
native  and  foreign,  which  are  to  be  seen  in  our  own 
country. 


LIST  OF  ILLUSTRATIONS. 


PAOB 

I.    Portrait  Statu e  of  Sophocles Frontispuce 

Lateran  Museum,  Rome. 

II.    Vents  of  Melos 18 

Lou\Te,  Pai'is. 

III.  Bas-kelief  on  Tomb  of  S.  Domenico.     Siccola  Pisano    .       46 

S.  Domeuic'o,  Bologna. 

IV.  PfLPiT.     Giovanni  Pisatio 54 

Cathedriil,  Pisa. 

V.   St.  George.     Donatella 80 

Or  San  Miehele,  Florence. 

\'l.   Portrait  of  Michael  Angelo.     Canova 124 

Palace  of  the  Consenatori,  Home. 
VII.   Lorenzo  de'  Medici.     Michael  Anyelo  ........     134 

S.  Lorenzo,  Florence. 

VIII.   Portrait  of  Cellini I.jO 

Palace  of  the  Uffizi,  Florence. 

IX.   Portrait  of  Bernini.     Canova'.     .     .' 174 

Palace  of  the  Conservatori,  Rome. 

X.    Ariadne  ipon  the  Panther.     Dannecker 220 

Bethniann  Mu.seuni,  Frankfort. 

XI.  ,Jo.VN  of  Arc.     Rude 250 

Gardens  of  tli«;  Luxembourg,  Paris. 

XII.    Peri.     Crawford 294 

Corcoran  Gallery  of  Art,  Washington,  U.  C. 


FAMOUS  SCULPTORS  AND  SCULPTURE 


OF 


ANTIQUITY. 


Sculptors  of  Antiquity. 

.^\^5 

THE  remains  of  the  early  art  of  Greece  are  so  scanty, 
and  the  history  of  its  development  through  several 
centuries  is  so  confused  and  so  mythical,  that  the  student 
is  almost  content  to  accept  the  legend  of  the  ancient 
Greeks,  that  the  old  statues  of  the  gods  descended  from 
heaven.  There  is,  however,  much  legendary  information 
concerning  artists  and  their  works  which  doubtless  has 
its  foundation  in  fact,  and  is  of  value  in  tracing  the  de- 
velopment of  art  from  the  lifeless  and  monotonous  forms 
of  prehistoric  times  to  the  perfection  of  life  and  beauty 
which  characterizes  the  art  of  Greece  in  its  best  period. 
The  art  of  the  Greeks,  as  that  of  the  Eastern  nations,  was 
closely  connected  with  their  religion.  The  gods  of  the 
Egyptians  were  characterized  by  a  strange  symbolism,  and 
those  of  the  Hindoos  were  monstrosities  with  numberless 
heads  and  limbs,  while  the  gods  of  the  Greeks  were  repre- 
8entation.s  of  the  highest  human  attributes.  Adhering  to 
the  forms  of  nature,  which  in  tlie  Grecian  race  were  origi- 
nally noble,  and  developed  by  favoring  circumstances,  their 
artists  created  ideal  types  of  still  higher  beauty  and  ma- 
jesty as  personifications  of  tlieir  deities.  Undoubtedly 
the  earlier  Oriental  art  induenced  the  art  of  Greece,  but 
its  grotesque  and  mystic  forms  were  remoulded  in  the 


4  SCULPTORS  OF  ANTIQUITY. 

freer,  purer  atmosphere  of  Grecian  life ;  and  though  the 
art  of  Greece  may  have  begun  with  imitation,  it  seems  to 
have  borrowed  only  what  was  technical  and  mechanical, 
aiming  at  once  towards  the  regions  of  ideal  beauty. 

The  progress  of  sculpture  in  Greece  can  be  traced  in 
history  and  in  the  remains  of  plastic  work  from  about 
600  B.  c.  From  this  period  schools  were  formed  in  its 
great  cities,  and  the  growth  of  sculpture  was  rapid  for 
about  two  centuries,  reaching  its  highest  point  of  perfec- 
tion in  the  time  of  Phidias. 

Many  important  works  mentioned  in  history,  once  be- 
lieved to  be  lost,  are  found  to  exist  still  in  copies,  or  slight 
variations,  of  the  great  originals,  so  that  the  student  can 
trace  the  development  of  art,  and  form  an  approximately 
correct  judgment  with  regard  to  individual  works. 

Various  workers  in  clay  and  wood  were  among  the  ear- 
liest artists  of  whom  there  is  distinct  historical  record ; 
and  as  early  as  680  b.  c.  we  have  accounts  of  bronze  cast- 
ing, r.nd  sculpture  m  marble. 


ARISTOCLES  AND  CANACHUS. 

AMONG  the  artists  whose  works  bear  the  stamp  of 
individuality,  and  seem  to  establish  a  new  era  in 
the  world  of  art,  Aristocles  and  Canachus  of  Sicyon 
occupy  an  eminent  place.  The  first  named  is  chiefly 
distinguished  as  the  founder  of  an  important  school. 
Canachus  worked  in  bronze,  gold,  wood,  and  ivory. 
Though  a  sculptor  of  merit,  he  never  divested  himself  of 
the  traditions  of  the  earlier  artists,  and  his  style  was  of 
great  severity.     Cicero  said,   "  The  statues  of  Canachus 


ARISTOCLES  A^■D  CANACHUS.  5 

are  too  stiff  to  be  true  to  nature."  He  executed  at  Cor- 
iuth  a  statue  of  Venus  in  gold  and  ivory,  and  at  Thebes 
a  colossal  statue  of  Apollo  in  cedar-wood. 

His  most  important  work  w^as  an  Apollo  in  bronze 
executed  for  the  sanctuary  of  Didyma?,  near  Miletus,  in 
Asia  Minor.  An  antique  statuette  after  this  figure  is  in 
the  British  Museum.  It  represents  the  god  standing  in 
a  quiet  attitude,  with  one  foot  slightly  advanced,  holding 
a  diminutive  fawn  in  one  hand,  while  the  other  is  bent 
as  though  originally  holding  a  bow.  The  works  of  this 
master  are  probably  to  be  placed  at  the  end  of  the  sixth 
and  the  beginning  of  the  fifth  century. 


AGELADAS. 

AGELADAS,  chief  of  the  school  of  art  at  Argos,  was 
a  sculptor  in  bronze  who  labeled  about  500  B.  c. 
He  executed  two  statues  of  Jupiter  and  two  of  Hercules, 
representing  each  as  a  man  and  as  a  boy ;  he  was  the  author 
also  of  various  groups.  It  appears  that  his  works  were 
highly  esteemed,  though  he  is  chiefly  renowned  as  the 
master  of  the  three  greatest  sculptors  of  Greece,  —  Phi- 
dia.s,  ^lyi-on,  and  Polycletus. 

Of  the  true  style  of  his  individual  works  no  informa- 
tion is  to  be  gathered,  though  from  the  productions  of 
other  artists  of  this  school  some  idea  may  be  gained  of 
the  progress  of  art. 

Glaucus  and  Dionysius  of  the  school  of  Argos  are 
mentioned  as  authors  of  numerous  statues  and  groups, 
and  some  of  their  works  are  greatly  praised  by  Pausanias. 


SCULPTOUS  OF  ANTIQUITY. 


GALLON  AND   ONATAS. 

THESE  two  names  are  conspicuous  in  the  art  history 
of  Egina.  Working  in  bronze  and  marble,  these 
artists  executed  a  large  number  of  images  of  the  gods  for 
different  sanctuaries  of  Greece,  and  probably  took  part  in 
the  ornamentation  of  the  famous  temple  at  Egina.  The 
pediment  sculptures  of  this  temple  were  discovered  by  a 
society  of  archfeologists  in  Egiua  in  1811.  Purchased  by 
the  king  of  Bavaria,  and  taken  to  Munich,  they  were 
restored  by  Thorvaldsen,  and  now  form  the  most  valu- 
able treasure  of  the  Glyptothek,  rivalling  in  interest  the 
marbles  of  the  Parthenon.  Both  pediments  represent 
scenes  in  the  contests  of  the  Greeks  before  Troy,  the 
composition  in  each  being  essentially  the  same,  though 
repeated  with  slight  deviations.  The  figures  are  of  admi- 
rable proportions  and  of  expressive  attitudes,  while  most 
of  the  faces  are  marked  by  an  almost  idiotic  vacancy. 
Dr.  Liibke  says  :  "  High  as  the  Eginetan  artist  stands  in 
the  perfect  execution  of  the  natural  form,  well  as  he  suc- 
ceeds in  every  indication  of  physical  power,  he  is  unable 
to  denote  the  emotions  of  the  mind  by  any  variety  of 
expression.  The  heads  of  his  warriors  have  all  the  same 
stiff  smiling  character  wdiich  is  common  to  the  old  statues 
of  the  gods,  and  is  also  apparent  in  his  Minerva.  Hence 
the  figures  are  deficient  in  that  high  intellectual  life 
which  is  only  felt  when  every  action  receives  its  explana- 
tion and  reflex  in  the  accompanying  expression  of  the 
countenance."  The  eastern  group,  however,  shows  a  higher 
style  in  the  treatment  of  the  heads,  and  Herr  Brunn,  in 
concluding  a  critical  discourse  upon  these  works,  says : 
"  The  west  group  may  correspond  with  the  idea  which  we 


GALLON   AND  ON  AT  AS.  7 

have  been  wont  to  form  of  the  art  of  Gallon,  while  the 
east  group  reminds  us  of  the  higher  eulogiums  with  which 
Pausanias  mentions  the  art  of  Onatas." 


CALAMIS. 

CALAMIS  was  a  Greek  sculptor,  who  flourished  about 
450  B.  c,  at  Athens,  it  is  supposed,  lie  worked 
in  bronze,  ivory,  gold,  and  marble,  but  chiefly  in  bronze. 
He  represented  a  greater  variety  of  subjects  than  any  of 
the  earUer  masters.  Among  his  works  were  many  figures 
of  the  gods,  and  he  executed,  besides,  heroic  scenes,  in 
which  were  human  figures,  chariots,  and  horses,  the  latter 
remarkable  for  life  and  beauty.  Some  of  the  works  of 
Calamis  were  of  colossal  size,  as  a  bronze  Apollo,  sixty 
feet  in  height,  which  was  taken  from  ApoUonia  by  Lucul- 
lus,  and  erected  in  Rome.  His  human  figures  were  not 
entirely  free  from  constraint,  though  finely  finished ;  the 
modelling  of  horses  he  carried  to  the  highest  perfection. 
It  is  said  that  Praxiteles  replaced  a  charioteer  of  Calamis 
by  one  executed  by  himself,  that  the  horses  might  not 
surpass  their  driver. 

The  Apollo  Belvedere,  in  the  Vatican,  one  of  the  most 
celebrated  statues  in  the  world,  is  supposed  by  some 
students  of  art  to  be  copied  after  an  Apollo  by  Calamis. 
It  was  found  among  tlie  ruins  of  Antium  about  the  be- 
ginning of  the  sixteentli  century,  and  received  its  name 
from  having  lit-en  first  placed  in  the  Belvedere  of  the 
A\ai(;an.  It  has  been  called  also  the  rijtldan  Apollo,  as 
it  was  by  some  siqtposed  to  represent  the  god  as  discharg- 
ing the  fatal  arrow  at  the  dmgon  Python,  who  rendered 


8  SCULPTORS  OF  ANTIQUITY. 

the  oracle  at  Delphi  inaccessible.  In  the  latter  part  of 
the  eighteenth  century,  a  bronze  statuette  was  found  in 
Paramythia,  near  Yanina,  in  European  Turkey,  which 
essentially  corresponds  with  the  marble  statue,  prov- 
ing that  they  were  copied  from  the  same  original,  and 
that  the  god  did  not  hold  an  arrow,  but  the  segis  with  the 
gorgoneia,  in  the  act  of  putting  to  flight  some  dreaded 
enemy.  This  statuette  is  in  the  collection  of  Count 
Stroganoff,  in  St.  Petersburg.  The  hands  of  the  Apollo 
Belvedere  have  been  restored,  incorrectly  it  is  thought. 
The  head  and  attitude  are  most  dramatic  in  expression ; 
the  eyes,  lips,  and  nostrils  are  full  of  excited  feeling,  and 
in  the  turn  of  the  head  there  are  mingled  determination 
and  triumph.  Winckelmann  declares  it  to  be  more  than 
mortal ;  he  says,  "  The  mind  must  soar  to  the  realm  of  in- 
corporeal beauty,  and  strive  to  imagine  a  celestial  nature." 
Others  do  not  share  in  this  extravagant  admiration,  but 
regard  it  as  superficial  in  its  elegance.  The  hair  is  criti- 
cised as  being  of  an  affected  nicety,  and  the  whole  bear- 
ing is  considered  as  too  conscious.  A  marble  head,  not 
long  since  discovered  in  Eome,  and  now  in  the  Museum 
at  Basle,  was  undoubtedly  copied  from  the  same  original 
as  the  Apollo  in  the  Vatican,  and  is  more  simply  treated. 
It  has  the  same  characteristics  of  feature,  but  there  is  a 
more  natural  arrangement  of  the  hair,  and  the  face  has 
the  expression  of  conscious  power,  without  the  air  of 
pride  and  contempt  which  characterizes  the  Apollo  Bel- 
vedere. 


PYTHAGORAS. 


PYTHAGORAS. 


PYTHAGORAS  was  a  noted  sculptor,  boni  at  Rhe- 
giuin,  ill  ^lagiia  Grtecia.  In  the  history  of  ancient 
art  he  may  be  considered  as  occupying  about  the  same 
rank  as  CaLamis,  though  exhibiting  a  more  strict  adher- 
ence to  nature.  His  works  were  delicately  finished  ;  and 
of  his  delineation  of  the  human  form,  it  is  said  that  his 
first  object  was  rhythm  and  symmetry ;  that  is,  that  he 
aimed  at  the  harmony  of  the  entire  figure,  —  at  the  perfect 
agreeinent  of  each  separate  part,  and  its  accordance  with 
the  whole.  His  most  famous  works  were  statues  of  ath- 
letes, one  of  M'hich  was  declared  to  surpass  a  work  of 
^fyron.  Like  Calamis,  he  excelled  in  the  representation 
of  animals. 

A  few  works  among  the  remains  of  antique  art  are  re- 
garded as  copies  of  the  productions  of  Pythagoras,  and  as 
embodying,  to  some  extent,  his  peculiar  characteristics. 
One  of  these  is  a  limping  figure  of  the  archer  Philoctetes, 
upon  which  an  epigram  was  written  making  the  wounded 
hero  complain  that  the  artist  had  perpetuated  his  suffer- 
inus  in  bronze. 


MYRON, 


MYROX  was  an  eminent  Greek  sculptor,  born  in 
BcL'otia,  al)out  480  b.  g.  He  was  the  most  impor- 
tant of  a  grouj)  of  arti.sts  who  flourished  at  the  period 
just  preceding  that  in  which  Greek  art  attained  its  high- 
est excellence.  He  was  a  pupil  of  Ageladas,  and  as  an 
indejjendent  sculptor  his  fame  became  very  great  and 
widely  extended.     He  excelled  especially  in  the  delinea- 


l: 


10  SCULPTORS   OF  ANTIQUITY. 

tion  of  manly  strength  and  vigor,  generally  choosing  for 
representation  some  momentary  action  involving  great 
energy  or  skill.    He  also  excelled  in  sculpturing  animals. 

Myron  worked  chiefly  in  bronze^  and  produced  a  large 
number  of  works,  consisting  of  gods,  heroes,  athletes,  and 
a  variety  of  animals ;  female  figures  he  rarely  repre- 
sented, and  never,  it  is  said,  those  in  which  grace  and 
sweetness  were  expressed.  Among  his  most  admired 
works  was  a  Discobolus  in  bronze,  and  there  are  various 
similar  statues  in  marble  existing,  which  are  believed  to 
be  copies  of  this  work.  The  one  in  the  Palazzo  Massimi, 
in  Kome,  found  on  the  Esquiline,  in  1761,  is  considered 
the  finest.  Another  is  in  the  Vatican,  in  the  Sala  della 
Biga,  but  is  regarded  as  inaccurately  restored.  A  third, 
which  was  found  in  1791,  in  the  Villa  Adriani,  near  Tivoli, 
is  in  the  British  Museum. 

The  figure  of  a  cow,  wliich  this  sculptor  modelled  with 
wonderful  truth  to  nature,  was  very  celebrated  among  the 
ancients,  though  there  is  no  exact  description  of  it.  It 
stood  in  the  time  of  Cicero  on  the  Acropolis,  at  Athens, 
but  was  subsequently  removed  to  the  Temple  of  Peace,  at 
Eome.  Various  epigrams  were  suggested  by  this  work : 
"  Myron  did  not  model  this  cow ;  time  changed  it  into 
bronze,  and  he  passed  it  off  as  his  work."  "  Shepherd,  take 
thy  cows  further  away,  lest  thou  also  take  that  of  ]\Iyron." 

In  this  master's  work,  Greek  art  may  be  considered  as 
having  reached  its  highest  attainment,  so  far  as  relates  to 
the  representation  of  physical  perfection  and  freedom  of 
action.  A  higher  intellectual  value,  and  the  expression 
of  a  more  exalted  feeling,  were  all  that  remained  for  its 
perfection. 

Lycius  was  the  son  and  pupil  of  Myron,  and  the  author 
of  various  statues  and  groups  in  bronze. 


PHIDIAS.  11 


PHIDIAS. 


PHIDIAS,  or  PiiEiDiAS,  regarded  as  the  greatest  sculp- 
tor of  all  ages,  was  boru  at  Athens,  probably  about 
480  B.  c.  His  father's  name  was  Charmidas,  or  Charmi- 
des.  The  records  of  his  life  are  very  meagre,  and  are 
contradictory  at  that,  but  the  sublime  character  of  his 
productions  is  well  understood,  and  his  influence  upon  the 
art  of  all  time  is  gi-atefully  admitted. 

We  are  told  that  his  first  instructor  in  art  was  Hegias, 
of  Athens,  and  that  he  afterwards  became  the  pupil  of  the 
eminent  Ageladas,  of  Argos.  It  is  probable  that  his  in- 
dependent career  as  a  sculptor  commenced  at  an  early  age, 
as  he  labored  in  the  time  of  Cimon,  who  commenced  the 
work  of  restoring  the  shrines  of  Athens,  which  had  been 
destroyed  by  the  Persians.  After  Cimon  was  sent  into 
exile,  and  Pericles  "  became  sole  master  of  Athens,"  the 
most  brilliant  period  of  Grecian  art  commenced.  The 
work  of  restoration  was  continued  on  a  still  more  magnifi- 
cent scale,  and  the  sculptor  Phidias  became  the  influential 
friend  and  important  assistant  of  the  great  statesman  in 
carrying  out  his  plans  for  the  erection  of  monuments  and 
temples  such  as  had  never  been  equalled  in  beauty  and 
richness.  Some  of  the  ripest  years  of  tiie  artist's  life 
were  spent  in  rebuilding  and  adorning  the  Parthenon, 
that  most  exquisite  example  of  Grecian  architecture. 
Later  in  life  he  executed  at  Elis  his  grand  colossal  statue 
of  Jupiter.  On  his  return  to  Athens,  party  spirit  had  be- 
come so  bitteragainstPericles,  that,  according  to  tradition, 
Phidias,  as  his  friend  and  adherent,  became  the  victim  of 
the  hostile  jiarty.  He  was  accused  f»f  embezzling  a  por- 
tion of  the  gold  furnished  for  his  work,  and  also  of  bias- 


12  SCULPTORS   OF  ANTIQUITY. 

phemy  in  placing  his  portrait  and  that  of  Pericles  upon 
the  shield  of  the  goddess  Minerva.  We  are  told  that  he 
was  thrown  into  prison,  where  he  died  not  long  after,  as 
some  authorities  declare,  by  poison.  It  is  also  stated  that 
he  fled  to  Elis  to  escape  punishment  at  Athens,  and  was 
imprisoned  for  embezzlement  there.  Others  believe  that 
he  died  at  Elis,  and  that  the  stories  of  his  imprisonment 
and  death  as  a  criminal  are  fabrications.  In  support  of 
this  belief  are  accounts  of  the  great  honors  which  were 
paid  to  his  memory.  His  works  were  regarded  with  the 
greatest  veneration,  and  in  his  studio,  which  was  pre- 
served with  religious  care,  an  altar  was  erected  and  con- 
secrated to  the  gods. 

Phidias  was  the  great  sculptor  of  the  gods,  and  in  the 
sublime  spirituality  of  his  creations  he  has  never  been 
approached.  His  figures  were  distinguished  for  the  high- 
est perfection  of  form,  but  the  outward  beauty  was  only 
a  vehicle  for  the  most  exalted  spiritual  expression.  He 
never  represented  the  goddess  of  Love  except  as  Venus 
Urania,  investing  her  with  a  spiritual  and  divine  beauty, 
rather  than  with  the  loveliness  which  charms  the  senses. 
His  statues  of  Minerva  were  embodiments  of  the  most 
exalted  purity  and  dignity.  There  was  a  Greek  epigram 
which  declared  that  only  a  cow-keej)er  like  Paris  would 
prefer  the  Venus  of  Praxiteles  to  the  Minerva  of  Phidias. 

Among  the  important  early  works  of  Phidias  was  a 
group  of  bronze  statues,  presented  as  a  dedicatory  offering 
to  Delphi  by  the  Athenians,  after  the  victory  at  Mara- 
thon. The  central  figure  of  the  group  was  the  Athenian 
general,  Miltiades,  the  hero  of  Marathon,  surrounded  by 
Minerva,  Apollo,  and  the  Attic  heroes.  Among  his  early 
works  were  also  several  colossal  statues  of  Minerva.  One 
of  these  was  a  brazen  statue,  executed  from  the  spoils  of 


piiiaiAs.  13 

Marathon,  aud  placed  on  the  Acropolis.  It  was  about 
seventy  feet  in  height,  and  from  its  elevated  position  the 
crest  of  the  helmet  and  point  of  the  lance  could  be  seen 
from  a  great  distance. 

To  the  second  epoch  in  the  career  of  Phidias  belong  tlie 
sculptures  of  the  Parthenon.  M.  Louis  Viardot  says  of  this 
period,  and  of  its  crowning  work  :  "  The  marbles  of  the 
Parthenon  belong  to  that  supreme  moment  in  the  history 
of  the  arts  of  a  polished  nation,  when  with  the  innocence 
and  purity  of  the  early  ages  were  combined  the  science, 
tlie  grace,  and  the  force  of  the  mature  epoch,  as  yet  with- 
out any  intermixture  of  the  faults  of  the  decadence.  Fori] 
the  arts  of  Greece,  this  exceptional  moment  was  the  age 
of  Pericles.  Pheidias  is  the  connecting  link  :  he  lived  at 
the  time  of  the  assimilation.  Something  of  the  same  kind 
would  have  occurred  had  Piaphael  more  nearly  resembled 
Giotto  ;  Michael  Angelo,  Xicolas  of  Pisa ;  Palladio,  the 
Gothic  architects  ;  the  music  of  Mozart,  the  clwrales  of 
Luther;  —  in  a  word,  had  masterpieces  always  retained 
more  of  the  spirit  of  early  efforts.  In  this  sense  the 
sculptures  of  Plieidias  appear  to  me  more  perfect  even 
than  the  pictures  of  Paphael,  the  statues  of  Micliael 
Angelo,  the  monuments  of  Palladio,  or  the  operas  of 
Mozart.  This  is  why  we  may  call  them  the  finest  works 
of  art  ever  produced  by  human  genius." 

The  temple  of  the  guardian  goddess  Minerva  (Athene, 
from  whom  the  city  takes  its  name)  was  called  the  Par- 
thenon, or  "Virgin's  Chamber."  The  original  structure 
had  been  demolished  by  the  Pei"sians,  but  in  the  time 
of  Pericles  it  was  relmilt,  l)y  the  architects  Ictinus  and 
Callicrates,  and  ornament<Ml  hy  Phidias  and  his  col- 
leagues. The  site,  upon  tlu!  elevated  rock  of  the  Acrop- 
olis, and  also  the  jjroportions  of  the  ancient  temple,  were 


14  SCULPTORS  OF  ANTIQUITY. 

retained.  It  was  of  white  marble,  on  a  base  approached 
by  three  steps,  two  hundred  and  twenty-eight  feet  in 
length,  by  one  hundred  in  width.  The  height  to  the  top  ~ 
of  the  pediment  from  the  upper  step  of  the  stylobate  was 
fifty-nine  feet.  It  was  surrounded  by  a  portico  of  col- 
umns thirty-four  feet  in  height  and  six  feet  in  diameter, 
eight  beneath  each  pediment,  and  fifteen  upon  each  side, 
exclusive  of  those  at  the  ends  of  the  pediment,  —  forty-six 
in  all.  Within  the  outer  portico  was  a  second,  formed  of 
isolated  columns,  and  two  steps  higher  than  the  outer  row. 
Professor  Felton,  in  his  description  of  the  Parthenon,  says 
in  regard  to  the  delicacy  of  construction  revealed  by  sci- 
entific investigation  in  this  wonderful  building :  "  The 
lines,  which  in  ordinary  architecture  are  straight,  in  the 
Doric  temples  at  Athens  are  delicate  curves.  The  edges 
of  the  steps  and  the  lines  of  the  entablatures  are  convex 
curves,  Ij'ing  in  vertical  planes,  and  nearly  parallel ;  and 
the  curves  are  conic  sections,  the  middle  of  the  stylobate 
risincj  several  inches  above  the  extremities.  The  external 
lines  of  the  columns  are  curved  also,  forming  a  hyperbolic 
entasis.  The  axes  of  the  columns  incline  inwards,  so  that 
opposite  pairs,  if  produced  sufficiently  far,  would  meet. 
The  spaces  of  the  intercolumniations  and  the  size  of  the 
capitals  and  columns  vary  slightly  according  to  their 
position.  From  the  usual  point  of  view  these  variations 
and  curves  are  not  perceptible ;  but  they  produce  by  the 
combination  the  efl'ect  of  perfect  harmony  and  regularity." 

The  interior  of  the  temple  was  divided  into  two  un- 
equal portions  ;  the  larger  one,  upon  the  eastern  side,  con- 
taining the  statue  of  the  goddess,  and  the  one  uj)on  the 
western  side  being  used  as  the  treasury  of  the  city. 

Upon  the  eastern  pediment,  the  sculptures  related  to 
the  birth  of  Minerva,  and  consisted  of  independent  statues 


PHIDIAS.  15 

resting  upon  the  deep  cornice.  The  central  portion  of 
the  sculptures  of  this  pediment  disappeared  long  since. 
Upon  the  western  pediment  is  represented  the  dispute  of 
Jklinerva  M'ith  Xeptune,  respecting  the  land  of  Attica.  In 
the  seventeenth  century,  the  French  artist  Carrey  made 
a  study  of  the  sculptures  of  the  Parthenon,  and  from  care- 
ful drawings  made  Ly  him  the  arrangement  of  the  scenes 
upon  the  pediment  are  determined. 

Upon  the  metopes  are  represented  in  relief  the  battles  of 
Hercules  and  Theseus,  of  the  Centaurs  and  Amazons,  and 
perhaps  figures  from  the  Persian  war.  The  frieze  around 
the  upper  border  of  the  cella  represents  the  Panathenaic 
festival  instituted  in  honor  of  iNIinerva.  This  took  place 
once  in  four  years,  and  was  the  highest  festival  of  the  Athe- 
nians. The  peplos,  woven  and  embroidered  by  the  Atlie- 
nian  maidens,  was  borne  to  the  temple  of  the  goddess  in 
procession.  In  the  reliefs  of  the  frieze  the  sacred  garment 
is  preceded  by  figures  of  gods  and  goddesses,  and  followed 
by  virgins  with  offerings,  horsemen,  chariots,  and  sacri- 
ficial animals.  The  conception  of  these  works  exhibits 
the  marvellous  power  of  imagination  which  distinguished 
their  author,  and  the  modelling  and  execution  show  his 
unrivalled  skill.  Full  of  the  most  spirited  action,  they  are 
yet  remarkaljle  for  the  utmost  grace  and  majesty.  Dr. 
Liibke  says :  "  So  inexhaustible  is  the  imagination  of  the 
master  that,  amid  all  the  hundreds  of  figures,  no  two  can 
be  pointed  out  alike.  Like  some  great  musician,  he  is 
able  to  produce  wonderful  stories  from  tlie  simplest 
theme,  and  from  an  insignificant  germ  he  brings  forth  a 
blossom  fraught  with  iterlect  beauty." 

Within  the  Parthenon  was  the  colossal  statue  of  Minerva 
in  ivory  and  gold,  rei)resentiug  tlie  goddess  liolding  a  spear 
in  one  hand,  and  a  figure  of  Victory  in  the  other.     The 


16  SCULPTORS  OF  ANTIQUITY. 

general  character  of  the  statue  is  known  through  antique 
copies,  the  finest  of  which  is  in  the  Villa  Albani,  in  Eome  ; 
another  copy  is  in  the  Naples  Museum,  and  a  third  in  the 
Louvre. 

In  later  times,  the  Parthenon  became  a  temple  of  the 
Virgin,  and  after  that  a  Turkish  mosque.  In  1687,  when 
the  Acropolis  was  besieged  by  the  Venetians,  a  bomb 
piercing  the  roof  of  the  Parthenon  came  in  contact  with 
a  powder  magazine,  and  caused  the  ruin  of  the  splendid 
structure.  The  temj)le  was  in  part  dismantled  by  the 
Venetians,  and  in  later  days  other  portions  of  the  sculp- 
tured ornaments  were  carried  away  to  different  places. 
At  the  beginning  of  the  present  century.  Lord  Elgin, 
during  his  embassy  to  Constantinople,  obtained  permis- 
sion to  take  from  Greece  such  works  of  art  as  he  desired, 
and  accordingly  took  possession  of  the  remaining  decora- 
tions of  the  Parthenon.  These  are  now  the  property 
of  the  English  government,  and  occupy  a  room  in  the 
British  Museum.  Of  this  transaction  M.  Viardot  says  : 
"It  cannot  be  denied  that  the  Greeks  of  the  present  day, 
seeing  the  ancient  temple  of  their  Acropolis  despoiled  of 
its  ornaments,  have  a  right  to  curse  the  depredators.  But 
when  it  is  remembered  how  often  these  works  have  been 
ill-treated,  how  totally  the  chief  statues  have  been  de- 
stroyed, how  much  the  others  have  been  mutilated,  and 
the  danger  the  latter  were  in  of  being  destroyed  in  their 
turn, — when  they  consider  that  these  precious  relics  of 
art  are  now  in  a  place  of  safety,  in  the  centre  of  artistic 
Europe,  —  the  wish,  and  almost  the  right,  to  reproach  the 
English  for  dismantling  their  temple,  must  pass  away." 
r'  The  statue  of  Jupiter,  executed  by  Phidias  for  the 
temple  of  Olympia,  at  Elis,  was  esteemed  one  of  the 
seven  wonders  of  tlie  M'orld.     The  temple  was  of  marble, 

\ 


PHIDUS.  17 

surrounded  with  a  peristyle,  and,  according  to  Pausanias, 
■was  two  hundred  and  thirty  feet  in  length,  ninety-five 
feet  in  width,  and  sixty-eight  feet  in  height  frora  the 
foundation  to  the  pediment ;  the  whole  adorned  with 
sculptures  of  the  most  elaborate  description.  This  mag-~" 
nificent  structure  was  the  shrine  of  the  grand  figure, 
of  which  it  was  said,  "  Either  the  god  descended  from 
heaven  to  show  his  form,  or  thou,  0  I'heidias,  didst  go  up 
to  behold  the  god."  It  was  nearly  sixty  feet  high,  seated 
upon  a  throne,  crowned  with  olive,  and  holding  in  one 
hand  a  sceptre  surmounted  by  an  eagle,  and  in  the  other 
a  figure  of  Victory;  embodying,  to  the  Greeks,  the  highest 
ideal  of  supreme  majesty.  This  statue,  like  the  IMiuerva, 
was  of  gold  and  ivory,  and  the  throne  and  footstool  were 
of  ivory,  gold,  ebony,  and  precious  stones.  The  head  of 
Jupiter  was  slightly  inclined  forward,  adding  benignity 
to  its  solemn  and  majestic  expression.  According  to  the 
legend,  Phidias,  standing  before  his  completed  work, 
pi-ayed  for  a  token  of  the  god's  approval,  when  a  flash  of 
lightning  from  a  cloudless  sky  passed  through  an  opening 
in  the  temple  roof  into  the  pavement  beside  him. 

Quintilian  says  the  creation  of  this  image  of  the  god 
gave  deeper  intensity  to  the  religion  of  Greece.  Pilgrim- 
ages were  made  to  it,  and  in  its  august  and  benign  pres- 
ence cares  and  sorrows  were  forgotten. 

The  master's  work  long  survived  the  worship  of  the  god 
himself;  the  image  and  its  shrine  were  destroyed  in  the 
fifth  century  of  tlie  Christian  era. 

A  knowledge  of  the  cliaracter  of  this  work  is  based  upon 
the  copies  on  the  ancient  coins  of  p]lis.  Later  cD[)ies  in 
marble  probably  convey  some  idea  of  the  grandeur  of  the 
original,  as  the  bust  of  Jiipiter  discovered  at  Otricoli,  now 
in  the  Vatican. 

2 


18  SCULPTORS  OF  ANTIQUITY. 

From  the  slow  but  sure  destruction  of  time,  and  the 
sacrilegious  hands  of  men,  only  fragments  of  the  works  of 
Phidias  remain ;  but  these  are  sufficient  to  prove  that  he 
was  perfect  master  of  the  whole  field  of  art.  He  was 
equally  at  home  in  the  creation  of  the  grand  and  colossal, 
and  in  the  delicate  and  minute,  knowing  always  how  to 
produce  the  forms  and  combinations  most  enchanting  to 
the  eye;  but  his  supreme  endowment  was  the  power 
to  evoke  the  highest  spiritual  expression. 


ALCAMENES. 

A  LCAMENES  was  born  in  Athens,  and  labored  in 
-'L^  the  fifth  century  B.  c.  He  was  the  most  important 
pupil  of  Phidias,  and  ranks  next  to  him  among  the  Greek 
sculptors  of  his  age.  He  was  especially  famous  as  a  caster 
in  bronze,  though  he  worked  in  marble,  and  also  in  gold 
and  ivory.  He  was,  like  his  master,  a  celebrated  sculptor 
of  the  gods ;  most  of  his  works  were  of  an  ideal  char- 
acter, and  were  treated  in  an  original  manner.  The  most 
noted  work  of  Alcamenes  was  his  Venus  of  the  Gardens, 
which  is  now  lost.  It  stood  in  the  temple  of  the  god- 
dess in  the  garden  outside  the  eastern  wall  of  Athens.  It 
was  greatly  admired  for  its  majesty  and  beauty,  in  which 
the  sculptor  was  thought  to  approach  his  master  very 
nearly.  In  the  opinion  of  Dr.  Llibke  the  ideal  beauty  of 
this  statue  can  best  be  realized  in  the  Venus  of  Melos,  a 
much  mutilated,  but  very  beautiful  figure,  which  is  the 
most  beautiful  specimen  of  antique  sculpture  in  the 
Louvre,  and  perhaps  the  most  admired  statue  in  exist- 
ence.    It  was  named  on  account  of  the  supposition  that 


ALCAMENES.  19 

it  is  a  Venus  Victrix,  aud  from  the  fact  that  it  was  found 
(in  1820)  near  the  town  of  Melos,  in  the  island  of  that 
name.  Dr.  Llibke  does  not  assume  it  to  be  a  copy  of  the 
work  of  Alcamenes,  but  believes  that  it  affords  an  ap- 
proximate idea  of  the  types  of  this  epoch.  He  says : 
'"This  is  the  only  statue  of  Venus  that  has  come  down  to 
us  which  represents  the  [/oddcss,  and  not  merely  a  beauti- 
ful woman.  The  power  and  grandeur  of  form,  over  which 
the  infinite  charm  of  youth  and  beauty  is  diffused,  is  in 
harmony  with  the  pure  and  majestic  expression  of  the 
head,  which,  free  from  human  infirmity,  proclaims  the 
calm  self-sufficiency  of  divinity."  The  face  wears  a  self- 
sustained,  though  far  removed  from  a  self-conscious  look  ; 
the  whole  figure  presents  the  most  perfect  union  of  dignity 
and  simplicity.  The  matchless  form  and  features  seem 
the  external  mould  of  a  pui-e  and  lofty  spirit.  The 
opinion  has  been  expressed  that  the  Venus  of  Medici, 
attributed  to  Cleomenes,  an  artist  who  flourished  at  a 
later  period,  might  be  the  work  of  Alcamenes,  but  it  be- 
longs to  a  totally  different  class  of  art,  and  in  all  prob- 
ability to  a  later  time.  Unlike  the  Venus  of  Melos,  the 
physical  predominates  in  this  work,  and  the  charm  of  the 
highest  spiritual  beauty  is  wanting. 

Fortunately,  the  Venus  of  Melos  has  suffered  from  res- 
toration to  <inly  a  very  small  extent.  Tlie  present  guar- 
dian of  sculpture  in  the  Louvre  strenuously  opposes  any 
experiment  in  the  way  of  restoring  any  remains  of  antique 
sculpture,  and  there  is  evidently  an  increasing  conviction 
that  all  examples  of  ancient  art  should  remain  as  time 
has  transmitted  them  to  us.  When  Paris  was  besieged 
by  the  Germans,  tliis  higldy  prized  statue  was  boxed  and 
buried  beneath  the  Prefecture  of  Police ;  when  this  dan- 
ger was  past,  the  Comnmne  burned  the  Prefecture  to  the 


20  SCULPTORS  OF  ANTIQUITY. 

ground,  but  a  water-pipe  bursting  near  the  buried  treas- 
ure saved  it  from  destruction.  The  ordeal,  however,  had 
caused  a  separation  of  the  figure  at  the  waist,  where  it 
had  been  broken  and  joined  with  cement.  It  was  found 
that  wooden  wedges  had  been  inserted,  which  had  given 
a  somewhat  ungraceful  inclination  to  the  figure.  These 
were  removed  and  the  two  sections  closely  joined,  whicli 
now  gives  to  the  figure  the  queenly  pose  probably  de- 
signed by  the  sculptor. 

Alcamenes  was  the  author  of  a  Juno,  or  Hera,  and  the 
beautiful  marble  head  in  the  Villa  Ludovisi,  in  Eome,  it 
is  conjectured,  may  be  after  that  of  Alcamenes,  though 
sometimes  regarded  as  a  copy  of  the  Juno  of  Argos  by 
Polycletus.  It  is  a  head  of  striking  beauty  and  majesty, 
expressive  of  great  energy  of  character  united  with  the 
utmost  feminine  grace  and  purity. 

Asclepius,  the  god  of  medicine,  was  first  represented  by 
this  sculptor.  A  fine  copy  of  the  type  which  he  created 
is  one  which  was  found  in  the  island  of  Melos  near  what 
is  supposed  to  have  been  a  temple  of  Asclepius,  as  near 
it  was  discovered  a  tablet  dedicated  to  the  god  and  to 
his  daughter  Hygeia.  It  is  now  in  the  British  Museum. 
This  is  a  fine  head,  and  bears  so  much  resemblance  to 
that  of  the  Jupiter  of  Phidias,  that  there  is  some  doubt 
as  to  which  of  the  two  gods  it  represents.  It  has,  how- 
ever, more  of  an  expression  of  human  sympathy  and  of 
benevolence,  while  lacking  something  of  the  sublimity  of 
the  other. 

A  statue  of  Hephaestus,  or  Vulcan,  at  Athens,  by  Al- 
camenes, was  greatly  admired.  This  god  is  rejiresented 
in  art  as  an  aged  man,  hammering  at  an  anvil,  and  indi- 
cating by  his  attitude  the  lameness  which,  according  to 
the  myth,  he  was  afllicted  with.     Alcamenes  indicated  his 


ALCAMENES.  21 

infirmity  with  so  much  delicacy  as  in  no  wise  to  detract 
from  the  godlike  dignity  of  his  figure. 

It  is  related  that  Phidias  and  Alcamenes  were  ordered 
by  the  Athenians  to  execute  each  a  statue  of  Minerva  to 
be  placed  upon  columns.  "When  the  statues  were  finished, 
that  of  Alcamenes  was  the  most  admired ;  but  after  they 
were  raised  upon  their  columns  it  was  found  that  Phidias 
had  best  anticipated  the  eflect  when  placed  in  the  ele- 
vated position  for  wliieh  they  were  intended,  and  the  final 
decision  was  in  his  favor. 

It  is  believed  that  Alcamenes  may  have  been  the  author 
of  some  of  the  sculptures  of  the  Parthenon. 


AGORACRITUS. 

AGORACEITUS  is  mentioned  in  history  as  the  fa- 
vorite pupil  of  Phidias,  though  what  is  known  of 
his  productions  proves  that  he  was  not  gifted  with  especial 
origiuality.  The  intimacy  between  the  master  and  his 
pupil  may  have  arisen  from  other  causes  than  a  similarity 
of  genius.  It  is  believed  that  Phidias  assisted  him  in  the 
execution  of  his  works,  and  sometimes  gave  them  the 
finishing  touches  ;  consequently  most  of  his  works  were 
ascribed  doubtfully  to  him  or  to  his  master.  In  the  few 
works  regarded  as  wholly  his  own,  however,  there  is  traced 
an  affinity  to  tlie  ideal  bias  of  Phidias.  The  most  famous 
work  of  Agoracritus  was  a  n)arble  statue  of  Nemesis  at 
Phamnus.  It  has  been  called  the  best  work  of  Greek 
art.  There  were  two  statues,  Juj)iter  and  Minerva,  in  the 
temple  of  Minerva  at  Corona-a,  ascribed  to  Agoracritus, 
which   were  of  nuich   merit   and    showed   originality  tif 


22  SCULPTORS  OF  ANTIQUITY. 

invention.  The  figure  of  Jupiter  differed  from  the  type 
created  by  Phidias,  being  characterized  by  a  touch  of 
gloom,  so  that  it  was  designated  as  Hades  by  Strabo. 


COLOTES. 

COLOTES,  or  Colothes,  was  a  Greek  sculptor  of  He- 
raclea,  or,  according  to  some  authorities,  of  Pares. 
He  was  a  disciple  of  Phidias,  and  is  said  to  have  assisted 
that  master  in  the  execution  of  the  Olympic  Jupiter.  He 
was,  besides,  the  author  of  various  independent  works  of 
great  excellence.  His  master-piece  was  an  ivory  statue 
of  Asclepius.  Among  his  works  is  described  a  beautiful 
table  of  gold  and  ivory,  upon  which  the  crowns  for  the 
victors  in  the  Olympian  games  were  placed,  at  Elis.  It 
was  richly  ornamented  with  figures  of  the  gods,  and  other 
reliefs.  A  statue  of  Minerva  upon  the  citadel  at  Elis, 
executed  in  gold  and  ivory,  was  also  the  work  of  this 
artist,  and  it  was  of  such  excellence  as  to  have  been 
ascribed  to  Phidias  himself. 


CRESILAS. 

CRESILAS,  sometimes  improperly  written  Ctesilas, 
or  Ctesilaus,  was  an  eminent  sculptor  of  Athens, 
a  younger  contemporary  of  Phidias.  It  is  said  that  he 
took  part  in  a  competition  with  Phidias,  Polycletus, 
and  Phradmon  in  the  execution  of  a  figure  of  an  Ama- 
zon for  the  temple  of  Diana  at  Ephesus.  The  statue  by 
Cresilas  was  a  wounded  Amazon,  and  several  existing 
copies  in  marble  are  supposed  to  be  after  this  work.     The 


CRESILAS.  23 

finest  is  that  in  the  Museum  of  the  Capitol  at  Ptome. 
The  attraction  in  the  representation  of  this  subject  lies  in 
great  part  in  the  idea  of  that  return  to  tender  womanhood 
which  sufiering  has  caused  in  those  who,  possessed  of  a 
warlike  spirit,  had  for  a  time  overstepped  the  natural 
bounds  of  their  sex. 

A  bust  of  Pericles,  in  the  Glyptothek  at  j\Iunich,  it  is 
also  thought,  may  be  a  copy  after  Cresilas.  The  celebrated 
figure  of  the  Dying  Gaul,  better  known  as  the  Dying 
Gladiator,  in  the  Capitol  at  Piome,  has  been  attributed  to 
this  sculptor.  There  would  seem  to  be  no  doubt  that  the 
statue  represents  a  Gaul,  and  that  the  title  of  Gladiator  is 
erroneous.  It  is  supposed  that,  at  the  approacli  of  a  vic- 
torious foe,  he  has  stabbed  himself  with  his  own  sword  to 
escape  captivity.  But  the  surpassing  power  of  the  work 
is  independent  of  all  theories  and  poetic  inventions.  To 
the  spectator  it  is  a  human  being  in  mortal  suffering, 
awaiting  with  a  superhuman  calmness  the  release  of 
death.  There  is  no  moral  elevation  of  which  we  are 
conscious,  but  there  is  a  power  of  will,  an  unflinching 
endurance,  that  awaken  alike  our  amazement  and  our 
admiration.  The  figure,  half  recumbent,  is  supported  by 
the  right  hand,  which  rests  upon  the  ground;  the  head 
falls  heavily  forward,  and  the  limbs  seem  to  have  moved 
for  the  last  time,  though  the  currents  of  pain  are  almost 
visible  from  head  to  foot.  The  rough  hair,  the  hardy 
frame,  the  protruding  joints,  tell  plainly  in  what  harsh 
school  he  learned  the  lesson  of  unquestioning  endurance. 
This  famous  statue  is  not  now,  however,  attributed  to 
Cresihi-s,  or  any  artist  of  the  Attic  school,  but  is  reckoned 
among  the  productions  of  the  school  of  Pergamus.  Fine 
ca.sts  of  it  are  to  be  seen  in  many  of  the  collections  of 
antique  sculpture  in  America. 


24  SCULPTORS  OF  ANTIQUITY. 


CALLIMACHUS. 

CALLIMACHUS  was  a  celebrated  sculptor  and  archi- 
tect, probably  a  native  of  Corinth  or  Athens.  He 
flourished  in  the  fifth  century  b.  c,  or  later,  according  to 
some  authorities.  According  to  the  testimony  of  Vitru- 
vius,  he  is  the  author  of  the  graceful  capital  of  the  Corin- 
thian order  of  Grecian  architecture.  He  was  remarkable 
for  his  technical  skill,  and  his  works  were  of  extreme 
finish,  but  they  were  wanting  in  the  charm  of  nature.  In 
the  Erechtheum  at  Athens  was  a  remarkable  golden  can- 
delabrum executed  by  Callimachus  ;  above  it  was  a  brazen 
palm  reaching  to  the  ceiling  to  protect  it  from  the  smoke. 


POLYCLETUS. 

POLYCLETUS  was  one  of  the  most  eminent  sculptors 
of  the  best  period  of  Grecian  art.  His  works  are 
believed  to  have  been  executed  between  452  and  412 
B.  c.  He  was  a  younger  contemporary  of  Phidias,  and 
though  his  works  were  less  remarkable  for  grandeur  than 
those  of  the  great  master,  they  exhibited  a  wonderful  cor- 
rectness and  harmony  of  proportion,  and  his  figures  were 
characterized  by  great  softness  and  elasticity.  He  wrote  a 
book  upon  the  proportions  of  the  human  figure,  and  exe- 
cuted a  most  perfect  statue  as  an  exemplification  of  his 
ideal  of  physical  beauty.  His  favorite  productions  were 
youthful  figures  harmoniously  developed  by  manly  exer- 
cises ;  and  it  is  said  that  he  was  the  first  who  represented 
figures  resting  upon  one  foot  with  the  other  slightly  raised. 


rOLYCLETUS.  25 

Dr.  Liibke  says  :  "  Although  Attic  art  exhibits  figures  in  a 
similar  attitude,  the  advance  made  by  Polycletus  consists 
in  the  fact  that  he  made  this  kind  of  graceful  position  a 
principle  in  his  representations,  and  thus  gave  his  figures 
the  appeamnce  of  extreme  lightness  and  elasticity." 

Polycletus  excelled  in  statues  of  men  rather  than  of 
the  gods,  though  among  his  works  were  some  remarka- 
ble representations  of  the  latter.  A  colossal  statue  of 
Juno,  in  the  temple  of  the  goddess  at  Argos,  is  mentioned 
among  his  most  excellent  productions.  A  head  of  Juno, 
in  the  Xa]:>les  Museum,  is  supposed  to  be  copied  from  the 
ideal  of  Polycletus.  It  is  of  a  noble  style  of  beauty,  but  is 
more  austere  in  expression  than  the  celebrated  Ludovisi 
Juno,  which  was  once  supposed  to  be  representative  of  the 
type  created  by  Polycletus.  An  Amazon  discovered  in 
Pome,  in  1869,  near  the  Baths  of  Diocletian,  and  now  in 
the  Berlin  Museum,  is  regarded  as  a  copy  of  a  work  by 
Polycletus.  Other  works  exist,  in  which  the  character- 
istics of  this  sculptor  are  to  be  traced.  His  position  in 
the  histoiy  of  Greek  sculpture  is  of  great  importance, 
and  he  had  many  pupils  and  followers.  He  was  also 
eminent  as  an  architect.  At  Epidaurus  he  erected  a  the- 
atre, which,  according  to  Pausanias,  was  the  most  beauti- 
ful in  the  world. 

Polycletus  the  Younger  was  a  pupil  of  Naucydes, 
and  executed  some  works  of  note  in  bronze  and  marble. 
Among  them  was  a  bronze  statue  of  Hecate,  which  was 
placed  beside  that  executed  l)y  his  master  and  a  statue 
of  the  same  goddess  by  Scopas.  A  statue  of  Jupiter  by 
the  younger  Polycletus  exhil)ited  the  effort  to  transform 
the  character  of  the  god  from  the  aspect  of  sublimity  to 
that  of  human  kiiulliuess. 


26  SCULPTORS  or  ANTIQUITY. 


NAUCYDES. 

NAUCYDES,  an  eminent  Greek  sculptor,  was  a  native 
of  Argos,  and  flourished  about  396  B.  c.  He  was 
one  of  the  artists  who  were  probably  stimulated  by  the 
influence  of  Polycletus,  though  not  instructed  by  him. 
Among  his  celebrated  works  is  mentioned  a  statue  of 
Hebe  in  ivory  and  gold,  which  was  placed  beside  the  Juno 
of  Polycletus  ;  also,  a  bronze  statue  of  Hecate  at  Argos. 
He  executed  several  bronze  statues  of  victors  in  the 
Olympian  games.  His  figure  of  Phrixos  offering  a  sac- 
rifice was  placed  on  the  Acropolis  of  Athens  in  the  temple 
court  of  the  Ergane.  He  produced  a  Discobolus  and  a 
celebrated  marble  figure  of  a  disk-thrower  in  the  Vatican 
Gallery  is  believed  to  be  a  copy  of  it.  It  represents  a 
youthful  figure  resting  the  weight  of  the  body  upon  one 
foot,  while  the  other  is  slightly  advanced  as  he  prepares 
for  the  decisive  action.  The  suspended  poise  of  the 
graceful  body,  the  intense  expression  of  the  well-shaped 
head,  which  is  inclined  a  little  to  suit  the  momentary 
action  of  the  body,  are  lifelike  and  full  of  charm. 


CEPHISODOTUS. 

CEPHISODOTUS,  or  Cephisodoeus,  (probably  the 
father  of  Praxiteles,)  was  an  important  sculptor  of 
Athens,  who  flourished  about  370  b.  c.  He  was  cliiefly 
a  sculptor  of  the  gods,  and  worked  in  marble  and  bronze. 
Pliny  speaks  in  high  praise  of  his  works,  and  mentions  a 
statue  of  Minerva  and  one  of  Jupiter  among  his  produc- 


CEPUISODOTUS.  27 

tions,  and  also  a  group  of  the  nine  Muses.  A  statue  of 
Irene,  or  Eirene,  with  the  young  Plutus,  by  Cephisodotus, 
is  mentioned  by  I'ausanias,  and  a  Parian  marble  group  in 
the  Glyptothek  at  ]\Iunicli  is  now  believed  to  be  a  copy 
of  this  work  ;  it  was  formerly  called  Leucothea,  the  marine 
deity.  It  represents  Irene,  the  goddess  of  peace,  bearing 
Plutus,  the  god  of  riches,  in  her  arms.  It  is  above  life- 
size,  and  the  form  and  attitude  of  the  goddess  are  very 
grand.  The  riglit  hand  has  been  restored,  erroneously  it 
is  thought ;  it  is  supposed  to  have  originally  held  a  scep- 
tre, but  is  now  represented  pointing  upward. 

The  works  of  Cephisodotus  were  less  majestic  than 
those  of  Phidias,  but  they  were  of  exceeding  grace,  and  in 
the  history  of  sculpture  he  occupies  a  position  which 
marks  the  transition  from  the  sublime  art  of  Phidias  to 
the  more  graceful  and  passionate  representations  of  Sco- 
pas,  and  the  dreamy  creations  of  Praxiteles. 

The  group  of  the  wrestlers  in  the  Tribune  of  the  Uffizi 
is  by  some  attributed  to  Cephisodotus ;  others,  from  its 
characteristics,  believe  it  to  be  a  production  of  the  Piho- 
dian  school. 

Cephisodotus  the  Younger  was  the  son  of  Praxiteles, 
but  is  sometimes  confounded  in  history  with  Cephisodotus 
the  elder.  He  worked  in  marble  and  bronze,  and  his 
productions  were  highly  praised,  but  they  showed  a  ten- 
dency towards  voluptuousness.  Tim.vrchus  was  a  younger 
son  of  Praxiteles,  also  a  sculptor,  though  of  less  impor- 
tance than  Cephisodotus.  The  two  brothers  executed 
various  works  in  common. 


28  SCULPTORS  OF  ANTIQUITY. 


SCOPAS. 

SCOPAS  was  a  celebrated  sculptor  and  architect,  born 
on  the  island  of  Paros.  This  island  abounds  in  the 
finest  Greek  marble,  and  the  sculptures  of  Scopas  were 
chiefly  of  marble,  though  executed  in  various  localities. 
Very  little  is  known  of  the  life  of  this  sculptor,  but  his 
works,  both  in  sculpture  and  in  architecture,  were  held  in 
the  highest  esteem  by  the  ancients.  His  subjects  were 
ideal,  and  he  seems  to  have  delighted  in  portraying  the 
graceful  and  the  lovely,  rather  than  the  grand  and  solemn. 
Unlike  the  calm  seriousness  of  the  creations  of  Phidias, 
his  personages  were  characterized  by  passion  and  emo- 
tion. Some  of  his  scenes,  full  of  agitation  and  excite- 
ment, are  yet  marked  by  the  utmost  grace  of  movement 
and  expression. 

At  an  early  period  in  his  career  he  superintended  the 
erection  and  embellishment  of  the  temple  of  Minerva 
Alea,  at  Tegea,  which,  according  to  Pausanias,  was  one  of 
the  most  beautiful  temples  of  Peloponnesus.  In  its  con- 
struction the  three  orders  of  columns,  Ionic,  Doric,  and 
Corinthian,  were  introduced ;  the  Ionic  in  the  outer  hall, 
the  Doric  and  Corinthian  in  the  interior.  The  two  pedi- 
ments were  richly  ornamented  with  sculptures  by  the  hand 
of  Scopas.  Upon  the  front  was  represented  the  hunt  of 
the  Calydonian  boar,  which  included  a  great  number  of 
figures  in  intense  action.  Upon  the  other  pediment  was 
represented  the  contest  between  Telephus  and  Achilles. 
Nothing  remains  of  this  magnificent  work,  and  it  is  only 
known  through  the  slight  descriptions  given  by  Pausanias. 
/'About  350  B.C.,  Scopas  was  employed,  in  connection 
\v'ith  three  other  sculptors,  Bryaxis,  Timotheus,  and  Leo- 


SCOPAS.  29 

chares,  by  Artemisia,  queen  of  Caria,  to  erect  a  magnifi- 
cent monument  to  the  memory  of  her  husband  Mausolus, 
though  it  is  i)robable  that  the  work  was  commenced  durin<>- 
the  lifetime  of  the  king.  This  monument  was  one  of  the 
most  splendid  productions  of  antiquity,  and  ranked  among 
the  wonders  of  the  world.  It  was  described  by  historians 
as  late  as  the  twelfth  century,  and  it  was  probably  de- 
stroyed by  an  earthquake  at  some  period  within  the  two 
succeeding  centuries.  In  1-404  the  Knights  of  St.  John 
of  Jerusalem  took  possession  of  the  site  of  Halicarnassus 
fur  the  purpose  of  erecting  their  castle  there.  While 
excavating  among  the  ruins  they  discovered  a  large  cham- 
ber decorated  with  marble  pilasters  and  richly  wrought 
panels  ;  also  another  large  room  containing  the  sarcoph- 
agus of  the  founder.  In  1856,  excavations  were  made 
under  the  direction  of  Mr.  C.  J.  Xewton,  keeper  of  the 
Grecian  and  Iloman  antiquities  in  the  British  Museum, 
and  many  beautiful  sculptures  were  found.  These  con- 
sist of  fragments  of  horsemen,  marble  lions,  and  other 
animals,  together  with  remains  of  a  frieze  of  beautiful 
design  and  execution.  The  finest  portions  of  the  frieze""! 
are  perhaps  only  surpassed  by  the  sculptures  of  the  J 
Theseum  and  the  Parthenon.  Most  of  them  are  now  in—* 
the  British  Museum.  Fragments  of  a  colossal  statue  of 
Mausolus  were  found,  and  have  been  joined  together,  only 
small  portions  being  wanting.  This  statue  as  an  original 
example  of  Greek  portraiture  is  of  great  interest  and 
value.  A  colossal  female  statue  of  M'onderful  majesty 
and  beauty,  though  the  head  and  arms  are  wanting,  sup- 
posed to  be  that  of  Artemisia,  has  also  been  discovered. 
These  statues  are  now  in  tlie  Britisli  IMuseum. 

The  structure  was  a  rectangle,  and,  according  to  the 
dimensions  given  by  Mr.  Newton,  12G  feet  in  length  by 


30  SCULPTORS  OF  ANTIQUITY. 

100  feet  in  width,  and  65  feet  in  height;  upon  this  was 
an  Ionic  colonnade  23J  feet  high,  surmounted  by  a  pyra- 
mid of  the  same  height,  upon  the  apex  of  which  were  the 
colossal  statues  of  Mausolus  and  Artemisia  in  a  quad- 
riga, or  four-horse  chariot.  It  is  knoM'n  that  the  sculp- 
tures upon  the  east  side  of  the  Mausoleum  were  the  work 
of  Scopas  himself,  while  those  of  the  other  sides  were  the 
work  of  his  colleagues.  It  seems  probable  that  the  bold 
and  masterly  design  was  wholly  due  to  the  genius  of 
Scopas.  The  monument  was  originally  called  Pteron,  but 
was  afterwards  called  Mausoleum,  and  from  this  all  sub- 
sequent tombs  took  their  name. 

Scopas  executed  a  great  number  of  statues  of  the  gods, 
but  there  are  no  known  copies  of  them  existing. 


PRAXITELES. 

PRAXITELES,  probably  a  native  of  Athens,  was  the 
most  eminent  sculptor  of  the  gods  excepting  Phidias 
and  Alcamenes,  and  labored  about  360  B.C.  Like  Scopas, 
he  delighted  in  the  forms  of  youtliful  loveliness  and  grace, 
and  he  excelled  in  the  expression  of  dreamy  reverie.  He 
had  not  the  profound  veneration  for  the  majestic  and 
superhuman  character  of  the  gods  which  inspired  Phidias, 
but  his  ideal  subjects  were  of  the  highest  natural  beauty, 
and  the  most  entrancing  grace.  His  art  may  be  consid- 
ered as  marking  the  transition  from  the  earnest  and 
reverent  age  that  preceded  the  Peloponnesian  war  to  the 
more  corrupt  and  sensual  succeeding  age. 

The  personages  associated  with  Piacchus,  or  Dionysos, 
were  favorite  subjects  with  Praxiteles  and  the  sculptors 


PRAXITELES.  31 

of  his  time.  In  the  excavations  at  Olympia,  in  1877 
and  1878,  were  found  fragments  of  a  Hermes,  or  Mercury, 
bearing  the  infant  Bacchus  to  the  care  of  Silenus  and  the 
nymphs  of  Xysa,  which  are  supposed  to  bek)ng  to  a  gruup 
by  Praxiteles.  The  head  and  trunk  of  the  Hermes  are 
quite  uninjured,  and  are  of  exquisite  beauty  and  finish. 

Among  the  principal  works  of  Praxiteles  were  his 
statues  of  Venus.  The  most  beautiful  of  these  was  the 
A'enus  of  Cnidus,  which  was  almost  as  highly  esteemed  in 
its  time  as  was  the  Jupiter  Olympus  of  Phidias  in  the 
earlier  and  purer  epoch.  The  goddess  was  represented 
standing  in  an  easy  and  graceful  attitude,  entirely  nude, 
lifting  her  garment  from  a  vase  at  her  right  hand.  The 
statue  was  placed  in  a  chapel-like  building,  ojjeu  at  both 
sides,  where  it  could  be  viewed  to  advantage.  An  idea  of 
the  general  appearance  of  the  figure  is  given  by  Cnidian 
coins,  but  there  are  probably  no  copies  among  antique 
statues  which  convey  an  adequate  impression  of  its  ex- 
treme grace  and  beauty.  A  statue  in  Parian  marble  in 
the  Glyptothek  at  Munich  is  perhaps  the  most  beautiful 
existing  copy  of  the  Cnidian  Venus.  Another  celebrated 
statue  of  the  goddess  liy  Praxiteles  was  a  draped  figure. 

The  figures  of  Cupid  by  this  sculptor  were  also  famous 
for  their  beauty  and  cliarm  of  expression.  In  the  Vatican 
is  to  be  seen  a  Cu])id  toi-so  cojiiod  al'ter  Praxiteles ;  the 
graceful  liead  is  inclined  forward,  and  tlie  face  wears  a 
peculiarly  soft,  dreamy  expression. 

Another  copy  from  Praxiteles  is  tlic  marble  statue  of  a 
Satyr,  in  tlie  Vatican  at  Pome.  It  is  a  delicate,  graceful 
figure,  resting  tlie  riglit  arm  upon  the  trunk  of  a  tree,  and 
holding  in  the  hand  a  (lute,  while  tlie  left  hand  rests 
in  an  easy  jjosition  at  the  side.  Face  and  figure  are  in 
jicrfect  keeping ;  the  wliole  expression  is  full  of  sensu- 


32  SCULPTORS   OF  ANTIQUITY. 

ous  life,  unmixed  with  passion,  suggestive  of  sylvan 
pleasures  and  an  existence  free  from  care.  Other  cele- 
brated copies  from  the  works  of  Praxiteles  are  two  statues 
of  Apollo  ;  the  Apollo  Sauroctonus  (lizard-killer),  in  the 
Louvre ;  and  the  famous  ApoUino,  in  the  Tribune  of  the 
Uffizi  in  Florence. 

Praxiteles  was  the  author  of  various  groups  of  the 
deities,  and  also  of  single  statues  of  goddesses  of  a  grand 
style  of  conception.  The  renowned  Niobe  group,  in  the 
Ufiizi  Gallery  at  Florence,  has  been  regarded  as  a  copy 
from  the  work  of  Praxiteles  or  of  Scopas ;  but  to  which 
artist  the  original  is  to  be  attributed  neither  the  author- 
ities of  antiquity  nor  those  of  modern  times  have  been 
able  to  decide.  The  statues  which  comprise  this  group 
were  found  in  Ftome,  in  1583,  near  the  Porta  S.  Paolo, 
and  were  first  placed  in  the  villa  of  Cardinal  Ferdinand 
de'  Medici  on  the  Monte  Pincio,  whence  they  were 
transferred  to  Florence.  The.  work  illustrates  the  story 
of  Mobe,  the  wife  of  Amphion,  who  was  the  mother  of  a 
numerous  family  of  beautiful  sons  and  daughters,  and 
proudly  triumphed  over  her  sister  Latona,  who  had  but 
two  children,  Apollo  and  Diana.  The  latter  avenged  their 
mother  by  slaying  all  the  children  of  Mobe  before  her 
eyes.  When  all  save  the  youngest  had  fallen  by  the 
arrows  of  the  avenging  deities,  Niobe  implored  them  in 
anguish  to  spare  this  last  one,  who  was  kneeling  and 
clinging  in  terror  to  her.  But  it  was  in  vain,  and  as  the 
fatal  arrow  struck  the  last  victim,  the  despairing  mother 
was  transformed  into  stone.  A  number  of  the  figures  are 
of  great  beauty,  but  the  chief  charm  of  the  group  is  the 
grand  figure  of  Niobe,  which  has  been  styled  the  "  Mater 
Dolorosa  "  of  antique  art.  She  accepts  the  cup  of  misery 
which  her  proud  assumption  has  mingled,  and,  though 


PRAXITELES.  33 

draining  it  to  the  last  drop,  asserts  in  lier  whole  bear- 
ing the  majesty  of  love  and  sulVeriug.  The  number  of 
the  original  group  is  not  known  ;  those  which  are  ac- 
cepted with  certainty  are  the  mother  with  the  youngest 
daughter,  the  youngest  son  with  his  tutor,  and  four 
daughters  and  six  sons  besides.  The  arrows  are  supposed 
to  descend  from  above,  as  the  wounded  and  fleeing  flgures 
are  looking  upward  in  alarm.  Full  of  agitation  and  terror 
as  the  scene  is,  every  part  of  the  composition  is  invested 
with  the  spirit  of  beauty  and  nobleness. 

Among  the  portrait  statues  by  this  sculptor  were  several 
of  I'hryne.  Cicero  regarded  the  expression  which  ani- 
mated the  heads  of  Praxiteles  as  the  most  admirable  and 
difficult  attainment  of  human  skill. 


LYSIPPUS. 

LYSIPPUS,  the  head  of  an  important  school  of  art, 
wa-s  born  at  Sicyon,  and  flourished  about  325  B.  c. 
He  was  at  the  zenith  of  his  artistic  career  in  the  time  of 
Alexander  the  Great,  and  that  hero  issued  an  edict  that 
no  one  except  Lysippus,  who  excelled  in  portrait  statues, 
should  represent  him  in  sculpture.  It  is  said  that  this 
sculptor  was  able  to  produce  from  the  various  peculiari- 
ties of  Alexander's  personal  appearance  a  fitting  expres- 
sion of  his  heroic  character ;  and  that  he  modelled  the 
likeness  of  the  great  commander  at  every  stage  of  his  life, 
from  boyhood  upwards. 

Lysipjjus  is  remarkable  as  liaviug  introduced  a  more 
attractive  treatment  of  the  human  form  by  more  slender 
and    elegant  proportions.     He  declared    that,    while  the 

a 


34  SCULPTORS  OF  ANTIQUITY. 

ancients  had  represented  men  as  they  were,  he  represented 
them  as  they  appeared  to  be.  He  devoted  himself  chiefly 
to  the  representation  of  male  figures,  producing  a  great 
variety  both  in  portrait  and  ideal  sculpture.  To  him  has 
been  accorded  the  credit  of  having  formed  and  perfected 
the  Hercules  type,  which  of  necessity  combines  the  ideal 
element  with  a  vigorous,  naturalistic  style  of  art.  The 
Farnese  Hercules  by  Glycon,  a  sculptor  of  Athens  of  un- 
certain age,  is  a  copy  of  a  statue  by  Lysippus.  It  was 
found  in  the  Baths  of  Caracalla  in  Rome,  and  is  now  in 
the  Museum  of  Naples.  The  hero  is  represented  resting 
from  his  labors,  leaning  upon  his  club,  which  is  covered 
with  the  lion's  skin.  The  broad-chested  figure  is  power- 
ful, and  of  a  certain  grandeur  in  its  attitude  of  repose ; 
the  exaggerated  display  of  muscles  is  supposed  to  be 
attributable  to  Glycon,  and  not  to  Lysippus. 

Among  the  works  of  Lysippus  were  various  figures  of 
Jupiter,  one  of  which  was  the  bronze  colossus  at  Taren- 
tum,  sixty  feet  in  height.  He  executed  the  famous 
bronze  statue  called  the  Apoxyomenos  (scraper),  which 
Marcus  Agrippa  placed  before  his  public  baths  near  the 
Pantheon,  where  it  was  greatly  admired  by  the  Eoman 
people.  A  statue  of  an  athlete,  scraj)ing  his  arm  with  a 
small  instrument,  was  found  in  the  Vicole  delle  Palme 
in  Trastevere,  in  Pome,  in  1849,  which  is  supposed  to  be 
a  copy  of  the  one  executed  by  Lysippus.  The  beauty  and 
elasticity  of  the  form,  the  elegance  of  the  attitude,  and 
the  finely  shaped,  intelligent  head,  seem  to  be  character- 
istic of  the  statues  of  this  sculptor.  The  work  is  in  the 
Braccio  Nuovo  of  the  Vatican. 

In  the  Villa  Ludovisi  in  Pome  is  a  statue  of  Mars, 
probably  a  copy  of  a  work  of  Lysippus,  or  by  his  school. 
The  god  sits  in  the  attitude  of  reverie,  his  shield  by  his 


LYSIPPUS.  35 

side,  his  sword  still  in  his  hand,  luit  forgotten  ;  uhile 
a  Cupid  playing  at  his  feet  indicates  that  it  is  of  love, 
and  not  of  war,  that  he  dreams.  From  a  mark  upon 
the  left  shoulder  it  is  supposed  that  the  iigure  of  Venus 
once  formed  a  part  of  the  group.  A  beautiiuUy  executed 
head  of  ^sop,  in  the  A'illa  Albani,  is  supposed  to  be 
after  Lysippus.  In  the  Naples  :Museum,  a  bronze  Mer- 
cury in  repose,  found  at  Herculaneum  in  1758,  is  also 
supposed  to  be  a  copy  from  the  work  of  Lysippus. 

Lysistkatus,  the  brother  of  Lysi])pus,  Mas  also  a  sculp- 
tor, but  his  works  were  inferior.  He  is,  however,  distin- 
guished as  being  the  first  to  make  plaster  casts  from  the 
living  model. 

EuTHYCKATES,  Daippus,  and  Bgedas,  sons  of  Lysippus, 
were  sculptors,  and  followed  to  some  extent  the  style  of 
their  father.  The  school  of  Lysijipus  comprised  a  very 
large  number  of  pupils  and  followers,  among  whom  may 
be  mentioned  El'TYCIIIDES,  a  worker  in  marble  and 
bronze  ;  and  Chares  of  Lindos,  in  the  island  of  Rhodes, 
who  exhibited  his  powers  in  works  of  a  colossal  scale. 
His  Colossus  of  the  Sun  was  reckoned  one  of  th'e  seven 
wonders  of  the  world.  This  work  occupied  the  sculptor 
for  twelve  years ;  it  was  of  brass,  one  hundred  and  five 
feet  in  height,  and  was  said  to  have  been  placed  at  the 
entrance  of  the  harbor  of  Rhodes,  with  the  feet  upon  the 
rocks,  so  placed  that  ships  in  full  sail  could  pass  between 
them.  After  remaining  in  its  place  for  fifty-six  years, 
it  was  overthrown  by  an  earthquake. 


36  SCULPTORS  OE  ANTIQUITY. 


AGESANDER. 

AGESANDEE,  one  of  the  foremost  sculptors  of  the 
school  of  Ehodes,  flourished  about  450  B.  c.  His 
name  is  immortalized  by  the  execution  of  the  famous 
group  of  the  Laocoon,  in  which  he  is  supposed  to  have 
been  assisted  by  Athenodorus  and  Polydorus.  From  in- 
scriptions it  is  inferred  that  they  were  father  and  sons. 

The  Laocoon  group  was  found  in  the  ruins  of  the  pal- 
ace of  Titus,  in  1506,  and  is  supposed  to  have  belonged  to 
the  age  of  the  first  Emperors.  Its  discovery  was  cele- 
brated in  Eome  by  a  fete  under  the  ardent  patron  of  art, 
Julius  II.,  and  it  is  now  one  of  the  most  valued  of  the 
sculptures  of  the  immense  collection  of  the  Vatican.  It 
is  six  feet  and  six  inches  in  height,  of  pyramidal  form, 
Laocoon  in  the  centre  seated  upon  an  altar,  with  his  two 
sons  on  either  side,  in  the  embrace  of  horrible  serpents. 

Laocoon,  the  p)riest  of  Neptune,  had  opposed  the  recep- 
tion of  the  wooden  horse  by  the  Trojans,  not  sharing  in 
the  belief  that  it  was  an  object  of  religious  veneration ; 
and  while  he  was  about  to  sacrifice  to  his  god  upon  an 
altar  by  the  sea,  two  serpents  emerged  from  it  and  de- 
stroyed him,  with  his  two  sons,  who  were  assisting  him. 
His  fate  was  believed  to  be  a  judgment  sent  upon  him 
for  his  offence  against  the  sacred  horse. 

The  group  is  a  masterly  portrayal  of  suffering,  and  the 
terrible  reality  of  the  scene  would  be  almost  unendurable 
were  it  not  for  the  softening  power  of  beauty  and  expres- 
sion in  the  figures.  The  central  and  principal  figure  is  a 
powerful  representation  of  the  most  hopeless  physical 
agony;  the  face,  the  attitude,  and  every  contracting 
muscle,  betray  the  swift  torture,  from  which  death  is  the 


AGESANDER.  37 

only  escape.  Some  observers  claim  that  the  sculptor  has 
expressed  in  the  countenance  of  Laoeoon  grief  and  pity 
for  his  sons,  and  indignant  protest  against  unjust  sufler- 
ings.  A  profound  student  of  art  has  said  in  reference  to 
these  supposed  discoveries :  "  To  the  miraculous  organi- 
zation of  such  expression,  Agesander,  the  sculptor  of  the 
Laoeoon,  was  too  wise  to  lay  claim.  His  figure  is  a  class  ; 
it  characterizes  every  beauty  of  virility  verging  on  age  ; 
the  prince,  the  priest,  the  father,  are  visible,  but,  absorbed 
in  the  man,  serve  only  to  dignify  the  victim  of  one  great 
expression  ;  though  poised  by  the  artist,  for  us  to  apply 
the  compass  to  the  face  of  Laoco<3u  is  to  measure  the 
■wave  fluctuating  in  the  storm  :  this  tempestuous  front, 
this  contracted  nose,  the  immersion  of  these  eyes,  and, 
above  all,  the  long-drawn  mouth,  are  separate  and  united, 
seats  of  convulsion,  features  of  nature  struggling  within 
the  jaws  of  death." 

The  right  arm  of  Laoeoon  has  been  restored,  and  in 
all  probability  incorrectly.  From  some  marks  in  the 
hair  at  the  back  of  the  head,  it  is  supposed  that,  instead 
of  being  extended,  it  was  originally  bent  behind  the  head. 
One  who  has  examined  a  drawing  of  this  group  with  the 
right  arm  represented  in  this  way,  nnist  be  struck  with 
the  added  pathos  which  it  gives  to  the  figure  of  Laoeoon. 


AGASIAS. 

AGASIAS  was  a  sculjitor  of  Ephesus,  who  is  sup- 
posed to  have  lived  about  400  B.  c.  He  was  the 
author  of  the  famous  statue  called  the  Fighting  Gladia- 
tor, also  known  as  the  Borghese  Gladiator,  now  in  the 


38  SCULPTORS  OF  ANTIQUITY. 

Lonvre.  It  was  found  in  the  beginning  of  the  seven- 
teenth century  at  Capo  cV  Anzo,  the  ancient  Antium,  in 
the  ruins  of  the  imperial  palace.  The  trunk  which  sup- 
ports the  figure  is  inscribed  Agasias  of  Epliesiis,  son  of 
Dosithcos.  (The  relationship  may  have  been  that  of  mas- 
ter and  pupil,  as  it  was  often  the  case  that  a  much  re- 
vered master  was  called  "  father  "  by  his  pupils.) 

This  statue  is  the  embodiment  of  vigor  and  energy. 
It  represents  a  hero  defending  himself  with  one  hand, 
while  raising  the  other  for  a  vigorous  blow.  From  his 
attitude  he  is  tliought  to  be  contending  with  an  adver- 
sary on  horseback;  or  it  may  represent  some  athletic 
game  in  which  the  gestures  of  a  fierce  combat  are  imi- 
tated. In  the  opinion  of  Lessing  it  is  a  statue  of  the 
Athenian  commander,  Chabrias,  who,  in  a  campaign 
against  Agesilaus,  in  378,  ordered  his  men  to  await  fehe 
charge  of  the  enemy  with  presented  spears,  and  with  the 
left  knee  supported  against  the  sliield ;  upon  which 
Agesilaus  feared  to  advance,  and  recalled  his  men.  For 
this  manoeuvre  Chabrias  became  famous  throughout  all 
Greece ;  and  he  desired  that  a  statue  should  be  erected 
to  him  in  this  position.  The  form  and  attitude  are  beau- 
tiful, though  displaying  the  most  vehement  action,  and 
the  development  of  the  muscles  exhibits  perfect  anatomi- 
cal knowledge.  These,  together  with  the  wonderful  bal- 
ance of  the  figure,  awaken  the  highest  admiration,  though 
one  may  never  be  able  to  decide  whether  it  represents  a 
contestant  in  the  Olympian  games,  or  a  hero  contending 
with  a  real  adversary. 


CLEOMENES.  39 


CLEOMENES. 

CLEOMEXES  was  a  celebrated  Athenian  sculptor  of 
about  370  B.  c.  He  is  not  mentioned  by  any  an- 
cient author  except  Pliny,  who  records  that  Cleomenes 
executed  the  group  of  the  ^Muses  called  Tlicsjnades,  which 
was  placed  in  the  temple  of  Felicitas  in  Rome.  His 
name  is  found  upon  various  fragments  of  ancient  sculp- 
ture, and  it  is  inscribed  upon  one  of  the  most  famous 
statues  of  antiquity  now  in  existence,  the  Venus  de' 
Medici,  in  the  Tribune  of  the  Uffizi  in  Florence.  This 
statue  was  discovered  about  the  middle  of  the  fifteenth 
century,  as  some  say,  in  the  garden  of  Nero,  at  Rome ; 
according  to  others,  at  Tivoli,  among  the  ruins  of  the 
villa  of  Hadrian.  It  was  first  placed  in  the  Villa  de' 
Medici,  in  Rome,  and  afterwards  transferred  to  tlie  Flor- 
entine Gallery  ;  it  was  taken  to  Paris  by  Napoleon,  but  in 
1815  was  restored  to  its  place  in  the  gallery  at  Florence. 
When  found,  it  was  broken  into  thirteen  pieces,  and  the 
arms  were  missing.  The  fractures  were  so  regular  that 
the  statue  was  easily  put  togetlier,  forming  a  beautiful 
figure,  until  it  was  thought  necessary  to  restore  the  miss- 
ing arms.  This  restoration  has  been  made  in  such  a 
manner  as  to  destroy  the  purity  of  idea  which  may  have 
characterized  the  original  work.  ]\I.  Viardot  says  :  "  It 
would  have  been  a  tliousand  times  better  if,  instead  of 
feeling  bound  to  restore  the  arms,  which  were  missing, 
the  owners  had  left  it  mutilated,  like  our  Venus  of  Melos, 
leaving  the  spectator's  own  imagination  to  supply  what 
was  wanting."  In  the  opinion  of  Dr.  Llibke  this  work 
"  remains  far  inferior  in  feeling  to  the  works  of  the  ear- 
lier period.     The  beauty  of  a  goddess  in  her  unconscious 


40  SCULPTORS  OF  ANTIQUITY. 

majesty  is  not  represented  here  as  in  the  Aphrodite  of 
Melos  ;  we  see  nothing  but  the  charms  of  a  coquettish 
woman,  who,  from  her  apparently  modest  bearing,  seems 
to  challenge  the  admirer,  whose  notice  she  is  seeking. 
For  it  is  this  very  look,  and  this  turn  of  the  head,  com- 
bined with  the  position  of  the  arms,  which  rob  this  statue, 
exquisite  as  it  is  in  itself,  of  its  highest  charm,  namely, 
that  of  chaste  ingenuousness.  The  great  number  of 
copies  of  this  work  sufficiently  proves  how  much  it  har- 
monized with  the  spirit  of  the  time.  Among  these 
statues,  in  which  the  theme  of  female  beauty  is  treated,  as 
here,  in  a  purely  genre-like  manner,  we  may  number  the 
Venus  crouching  in  her  bath,  in  the  Vatican  and  other 
places  ;  also  the  frequently  repeated  work  of  Venus  loos- 
ening her  sandal ;  the  Aphrodite  Callipygus  in  the  Mu- 
seum at  Naples,  and  the  Medicsean  Venus  in  the  Capito- 
line  collection  at  Eome."  Of  the  same  voluptuous  type  of 
art  is  the  statue  of  Flora,  the  Eoman  goddess  of  flowers, 
known  as  the  Farnese  Flora,  now  in  the  Naples  Museum. 


APOLLONIUS    AND    TAURISCUS. 

APOLLONIUS  and  TAUEISCUS,  sons  of  Arte- 
midorus,  were  sculptors  of  Tralles,  in  Caria,  who 
probably  flourished  about  200  B.  c.  They  labored  to- 
gether at  Ehodes,  and  were  the  authors  of  a  group  rep- 
resenting Amphion  and  Zethus  tying  Dirce  to  the  horns 
of  a  bull.  The  work,  according  to  Pliny,  was  taken  from 
Ehodes  to  Eome,  where  it  became  the  property  of  Asinius 
PoUio.  This  group  is  identified  with  the  one  now  in  the 
Museum  at  Naples,  called  the  Toro  Farnese.     During  the 


APOLLONIUS  A^D  TAURISCUS.  41 

pontificate  of  Paul  III.  (1534-49),  it  was  found  near  the 
Baths  of  Caracalla,  in  a  much  mutilated  condition,  and 
•was  restored  under  the  superintendence  of  Michael  Angelo. 
At  one  period  the  work  belonged  to  the  Farnese  family, 
which  gives  it  its  name.  It  illustrates  the  tragic  fate  of 
Dirce,  the  rival  and  persecutor  of  Antiope.  Antiope's 
two  sons,  Amphion  and  Zethus,  had  been  brought  up  by 
a  herdsman  of  Mount  Citha^ron,  and,  suffering  from  the 
cruel  persecutions  of  Dirce,  Antiope  Hed  to  the  home  of 
the  herdsman  and  her  children.  But  Dirce  had  also  arrived 
at  Mount  Cithierou  to  take  part  in  some  Bacchic  ceremony, 
and,  recognizing  her  victim,  ordered  the  two  young  herds- 
men to  bind  her  to  the  horns  of  a  wild  bull,  that  she  might 
be  dragged  to  death.  The  old  herdsman  recognized  Anti- 
ope, and  revealed  her  to  her  sous,  who,  in  their  indignation, 
bound  Dirce  herself  to  the  horns  of  the  bull,  and  permitted 
her  to  suffer  the  dreadful  death.  The  group  is  said  to  have 
been  chiselled  from  a  single  block  of  marble  ;  the  human 
figures  and  the  figure  of  the  bull  are  all  larger  than  life.  At 
the  base  are  a  shepherd  boy,  small  animals  of  the  chase, 
and  plants.  It  is  a  work  of  great  boldness  and  power, 
and  full  of  dramatic  life.  The  arrangement  is  picturesque, 
and  there  is  much  beauty  in  the  human  figures,  but  there 
is  little  to  soften,  to  the  mind  of  the  spectator,  the  brutal 
reality  of  the  scene  as  a  whole.  The  Toro  Farnese  is  the 
most  extensive  work  of  ancient  sculpture  which  has  been 
preserved  to  us. 


42  SCULPTORS  OF  ANTIQUITY. 


APOLLONIUS. 


APOLLONIUS,  son  of  Miston,  or  Nestor,  of  Athens, 
was  a  sculptor,  who  probably  lived  in  the  first  cen- 
tury before  Christ.  He  is  supposed  to  be  the  artist  who,  in 
the  time  of  Pliny,  executed  a  statue  of  gold  and  ivory  for 
the  temple  of  the  Capitoline  Jupiter,  which  was  being  re- 
stored after  a  fire.  He  executed  the  marble  statue  of  Her- 
cules, a  famous  fragment  of  which  still  exists,  known  as 
the  Torso  of  the  Belvedere,  in  the  Vatican,  at  Eome.  In 
the  beginning  of  the  sixteenth  century  this  fragment  of 
the  colossal  Hercules  was  found  at  a  place  where  the  the- 
atre of  Pompeius  had  stood.  It  represents  the  powerful 
figure  of  the  god,  seated,  and  apparently  resting  upon 
his  club,  and  is  supposed  to  have  been  modelled  after 
a  statue  by  Lysippus.  It  is  remarkable  for  its  combi- 
nation of  beauty  and  grace  with  energy,  strength,  and 
elasticity.  This  fragment  was  the  especial  admiration  of 
Michael  Angelo,  who  was  wont  to  call  it  his  master.'  Dr. 
Llibke  says  :  "  Grand  as  is  the  whole  design,  and  pow- 
erful and  ideal  as  is  the  entire  conception,  still  in  the 
exaggerated  softness  of  the  execution,  and  in  the  evi- 
dent aiming  after  effect,  we  trace  the  tendency  of  an  art 
which  could  only  in  external  mannerism  reproduce  the 
sublime  simplicity  of  an  earlier  period.  Of  course  this 
verdict  only  refers  to  a  comparison  with  works  of  the 
highest  art,  as,  for  example,  the  Theseus  of  the  Parthe-  I 
non ;  for,  on  the  other  hand,  the  torso  occupies  the  first 
place  among  all  contemporary  works  of  the  kind,  and  still 
more  among  all  later  ones." 


fi 


FAMOUS  SCULPTORS  AND  SCULPTURE 


OF 


THE  RENAISSANCE. 


Sculptors  of  the  Renaissance. 


NICCOLA    PISANO. 

THE  date  of  this  artist's  birth  is  not  known  with_^  cer- 
tainty;  Vasari  places  it  between  1205  and  12(J7, 
and  this  must  be  approximately  correct.  A^ery  little  is 
known  of  his  life  or  the  circumstances  of  his  artistic  de- 
velopment ;  but  in  him  the  very  spirit  of  the  antique  seems 
to  have  revived.  He  was  one  of  the  chief  restorers  of 
Italian  art,  and  is  perhaps  justly  called  the  pioneer  of  the 
Eenaissauce.  About  the  middle  of  the  thirteenth  century, 
when  art  was  in  a  rude  and  almost  lifeless  state,  when 
forms  were  conventional,  and  decorations  of  a  barbaric 
splendor,  he  appeared,  a  fully  developed  artist,  towering 
high  above  all  other  artists  of  tlie  time  and  of  the  preced- 
ing centuries.  At  that  time  the  trade  of  Pisa  extended 
over  the  whole  Mediterranean,  and  her  population  was 
recruited  from  distant  parts  ;  and  it  is  supposed  that 
Pietro,  the  father  of  Xiccola,  was  an  emigrant  from  Apu- 
lia, as  in  certain  documents  he  is  called  Pietro  de  Apulia. 
All  tliat  seems  certain,  h6wever,  is  tliat  Niccola  became  a 
citizen  of  Pisa,  and  that  he  lived  in  the  pari.sh  of  S.  131a- 
sius,  of  Ponte  di  Pisa. 

Among  the  early  works  of  Niccola,  Vasari  mentions  a 
relief  which  adorns  the   pediment  of  tlie  northern  side 


46  SCULPTORS  OF  THE  RENAISSANCE.  [12.., 

entrance  of  the  cathedral  of  Lucca,  "full  of  admirable 
figures,  finished  with  extreme  care,  the  marble  being 
entirely  perforated,  and  the  whole  completed  in  a  manner 
which  gave  hope  to  those  who  were  previously  pursuing 
this  art  with  weary  steps,  that  a  master  was  now  about 
to  arise,  from  whose  aid  and  example  they  might  look  for 
greater  facilities  to  their  future  progress  than  had  yet 
been  enjoyed."  The  authenticity  of  this  work  has  been 
disputed,  but  it  is  not  proved  to  be  by  another  hand. 
Three  centuries  later  than  Vasari,  a  celebrated  writer  on 
art,  in  treating  of  the  works  of  the  Pisani,  thus  refers  to 
this,  relief :  "  The  noblest  monument  of  their  chisel,  or  of 
their  school,  the  deposition  from  the  cross  in  the  lunette 
above  the  portal  of  S.  Martin  of  Lucca,  may  be  admired 
as  the  perfection  of  an  art,  which,  developing  itself  at 
Pisa,  Sienna,  and  Perugia,  seemed  at  last  but  to  await 
Michael  Augelo  to  bring  it  to  perfection.  No  example  of 
the  century  can  be  said  to  have  combined  in  the  same 
degree  skill  in  composition  and  grouping  with  boldness 
of  attitude,  foreshortening,  and  vigor  of  handling,  —  a 
deep  study  of  nature  and  anatomy  with  lofty  character 
and  expression." 

Between  this  early  work,  1233,  and  that  on  which  his 
fame  as  a  sculptor  chiefly  rests,  is  an  interval  of  nearly 
thirty  years.  During  this  time  he  was  much  occupied  as 
an  architect,  though  the  numerous  important  buildings 
attributed  to  him  by  Vasari  differ  too  widely  in  style  to 
render  it  probable  that  he  built  them  all.  It  is  certain, 
however,  that  he  superintended  the  restoration  of  the 
cathedral  of  Pistoia  about  1240. 

In  the  works  of  his  mature  time  Niccola  appears  to 
have  been  imbued  with  the  spirit  of  antique  art ;  he  had 
travelled  and  labored  in  many  places,  and  it  is  not  improb- 


12...]  NICCOLA  PISANO.  47 

able  that  he  \isited  Eome,  where  he  was  able  to  study  the 
works  of  antiquity ;  though  Vasari  states  that  some  an- 
tique sarcophagi,  brought  home  among  other  spoils  by  the 
armaments  of  Pisa,  first  attracted  the  master  to  the  Greek 
style.  About  12G0  he  executed  the  famous  marble  pulpit 
for  the  Baptistery  at  Pisa,  in  which  this  new  style  is  prom- 
inently exhibited.  The  structure  is  a  hexagon  in  form, 
supported  upon  seven  pillars,  while  two  more  support  the 
staircase.  Three  of  the  columns  are  supported  by  the  fig- 
ures of  lions  with  smaller  animals  in  their  claws  ;  three 
male  figures,  and  three  animals,  a  gritUn,  a  lion,  and  a 
tiger  or  leopard,  form  the  support  of  the  central  column. 
At  the  beginning  of  the  stairs  is  a  recumbent  figure  of  a 
lion.  The  shafts  of  the  columns  are  of  a  variety  of  stone  ; 
the  two  supporting  the  staircase  are  of  Parian  marble ;  five 
of  the  others  are  of  different  kinds  of  granite ;  another 
is  of  brocatello,  and  the  last  is  of  Sicilian  jasper.  There 
are  two  marble  desks ;  one,  for  the  reading  of  the  Gospel, 
is  in  the  shape  of  a  book,  and  projects  from  the  side  of  the 
pulpit ;  the  other,  for  the  reading  of  the  Epistle,  rises  from 
the  staircase,  and  rests  upon  a  bracket  column  of  broca- 
tello. Above  the  columns  are  allegorical  figures  of  the 
Virtues,  and  figures  of  Prophets  and  Evangelists.  The 
subjects  of  the  scenes  in  relief  upon  the  five  sides  are  the 
Annunciation  and  the  Birth  of  Christ,  the  Adoration  of 
the  Kings,  tlie  Presentation  in  the  Tem]>le,  the  Crucifix- 
ion, and  the  Last  .Judgment.  The  remaining  side  is  occu- 
pied by  the  staircase.  In  some  of  the  scenes  considerable 
knowledge  of  the  principles  of  composition  is  shown,  and 
they  all  exhibit  a  lively  fancy  and  wonderful  skill  in  tlie 
delineation  of  the  human  figure.  The  work  is  finished 
with  exquisite  care,  and  the  details  are  brought  out  with 
almo.st  disagreeable  minutenes.s.    For  exanqde,  the  pupils 


48  SCULPTORS  OF  THE  RENAISSANCE.  [12... 

of  the  eyes,  the  nostrils,  the  ears,  the  corners  of  the 
mouths,  were  cut  with  a  drill,  and  the  perforations  filled 
with  black  paste.  The  hair  and  ornaments  were  covered 
with  gilding,  traces  of  which  are  still  to  be  seen.  The 
whole  is  sculptured  in  tlie  highest  relief,  the  figures 
almost  completely  detached.  These  sculptures  seem  lit- 
erally a  renaissance  of  Greek  art,  —  Burckhardt  says,  "  a 
premature  renaissance,  which  just  for  this  very  reason 
could  have  no  continuance." 

Without  exhibiting  any  servile  imitation,  Niccola  seems 
more  imbued  in  this  remarkable  work  with  the  religion 
of  the  Pagans  than  with  Christian  feeling.  Cavalcaselle 
says  :  "  None  of  the  compositions  of  the  pulpit  more 
strikingly  illustrates  the  system  of  classic  imitation  pe- 
culiar to  Niccola  than  that  of  the  birth  of  the  Saviour. 
In  the  middle  of  the  space,  the  Virgin,  recumbent  on  a 
couch,  would  be  a  fit  representation  of  the  queenly  Dido, 
and  the  figure  behind,  pointing  to  her  with  a  gesture  and 
apparently  conversing  with  an  angel,  is  more  like  an  em- 
press than  the  humble  follower  of  a  carpenter's  wife  in 
Bethlehem  ;  Joseph,  with  an  air  of  wonder,  the  two  clas- 
sic maids  washing  the  infant  in  a  basin,  the  sheep  on 
the  foreground,  and  the  episode  of  the  Adoration  of  the 
Shepherds,  crowded  in  the  right  of  the  background,  are 
a  strange  and  confused  medley  of  antique  forms  and  old 
typical  Christian  conceptions  of  the  subject.  Of  Chris- 
tian sentiment  not  a  trace  is  to  be  found.  In  the  sym- 
metrical arrangement  of  the  Adoration  of  the  Magi,  the 
florid  Eoman  style  of  the  figures  is  most  characteristic ; 
but  the  irregular  proportion  of  the  figures,  as  compared 
with  each  other,  is  striking.  The  heads  are  uncommonly 
large,  especially  in  the  more  distant  figures.  The  angels 
are  not  messengers  of  heaven,  but  Koman  antiques,  and 


12...]  NICCOLA  PISANO.  -19 

the  horses  are  equally  reminisceut  of  the  old  times  of  the 
decliuiug  empire.  lu  the  Presentatiou  at  the  Temple,  the 
simple  groups  and  figures  are  mere  imitations  also,  whilst 
in  the  Crucifixion  the  body  of  the  martyred  liedeemer 
reminds  one  of  nothing  more  than  of  a  suffering  Hercules. 
In  the  Last  Judgment,  which  is  the  finest  of  the  series,  Nic- 
cola's  vigor  and  energy  found  play.  In  the  upper  centre 
the  Saviour  sat  enthroned  in  a  fine  attitude,  beneath  him 
the  elect,  the  damned,  resurrection,  and  Lucifer.  It  would 
be  diffieidt  to  find  a  better  imitation  of  the  classic  nude  in 
various  attitudes  than  is  here  to  be  noticed,  especially  in 
females.  Stmnge  are  the  figures  of  the  devils  and  Satan ; 
the  latter  witli  a  grotesque  head  and  ears,  the  body  and 
claws  of  a  vulture  united  to  legs  resembling  those  of  an 
ox.  Equally  so  is  the  figure  of  a  devil  with  the  body  of 
an  infant  and  a  head  as  large  as  the  torso,  revealing  the 
features  of  one  of  those  hideous  masks  peculiar  to  an- 
tiquity. This  curiously  conceived  devil  seems  to  swallow 
one  of  the  arms  of  a  sufferer  convulsed  with  agony,  as  he 
lies  trodden  down  by  the  claws  of  Satan.  The  same  study 
of  the  classic  was  betrayed  in  all  the  isolated  figures,  such 
as  those  at  the  angles  below  the  cornice  of  the  pulpit.  In 
the  symbolical  figure  of  Fortitude,  the  movement  and 
attitude,  and  the  short,  stout  form,  recalled  the  antique, 
an  antique  of  a  coarse  and  fleshy  character,  but  conven- 
tional and  motionless." 

The  introduction  of  the  sheep  and  goats  in  the  scene  of 
the  Nativity  adds  much  to  the  beauty  of  this  relief,  and 
is  a  fine  study  of  animal  nature.  Although  so  crowded, 
the  scenes  and  individual  figures  are  very  distinct.  These 
valuable  sculptures  were  dejilorably  damaged  a  few  years 
since  by  Lorenzino  de'  Medici,  who  caused  many  of  the 
heads  to  be  broken  off  to  adorn  his  study. 

i 


50  SCULPTORS  OF  THE  RENAISSANCE.  [13... 

A  few  years  later  Niecola  executed  for  the  cathedral 
of  Sienna  a  pulpit  of  still  greater  magnificence,  and  larger 
than  the  one  at  Pisa.  It  is  an  octagon  in  form,  and  rests 
upon  nine  columns  ;  the  central  one  is  surrounded  at  the 
base  by  eight  female  figures,  personifying  the  arts  and 
sciences ;  above  the  capitals  of  the  columns  are  statues  of 
the  Virtues.  The  reliefs  of  the  Nativity  and  the  Cruci- 
fixion are  repetitions  of  those  upon  the  pulpit  at  Pisa, 
while  those  of  the  Adoration  of  the  Magi  and  the  Last 
Judgment  are  differently  treated,  and  two  fine  scenes  are 
added,  —  the  Plight  into  Egypt  and  the  Massacre  of  the 
Innocents.  These  reliefs  show  an  improvement  in  execu- 
tion, are  delicately  finished,  and  abound  in  touches  of 
beauty  and  feeling.  There  are  some  inequalities  which 
may  be  attributed  to  the  assistance  of  his  pupils,  several 
of  whom,  among  them  his  son  Giovanni,  shared  in  the 
execution.     The  whole  is  richly  ornamented. 

The  last  work  of  Niccola  was  the  Fountain  at  Perugia, 
a  beautiful  structure,  now  much  restored  in  its  various 
ornaments,  but  still  a  beautiful  adornment  of  the  piazza 
between  the  cathedral  and  the  Palazzo  Pubblico.  It  was 
designed  by  Kiccola,  and  the  work  was  superintended  by 
Giovanni.  It  consists  of  three  basins,  rising  one  above 
another,  the  two  lower  of  marble,  the  highest  of  bronze, 
and  the  whole  is  very  richly  ornamented  with  statuettes 
and  reliefs.  These  represent  Old  Testament  scenes,  the 
months  and  their  occupations,  the  arts  and  sciences,  with 
figures  of  prophets,  apostles,  kings,  and  various  allegorical 
and  heraldic  designs. 

No  record  of  the  death  of  Niccola  Pisano  is  found,  but 
as  he  was  still  laboring  as  late  as  1278  it  is  probable  that 
his  life  passed  somewhat  beyond  the  limit  of  threescore 
and  ten. 


12..]  NICCOLA  PISANO.  51 

Among  the  pupils  of  Xiccola,  Fra  Guglielmo,  a  lay  friar 
of  the  Dominican  order,  is  the  most  important,  —  except- 
ing Giovanni  Pisano,  —  and  left  various  works  executed 
in  the  style  of  his  master.  Among  these  are  figures  upon 
the  fa(;ade  of  S.  Michele  in  Pisa,  and  reliefs  of  the  tomb 
of  S.  Domenico  at  Bologna.  The  tomb  was  probably  de- 
signed by  Xiccola,  and  completed  by  Fra  Guglielmo.  The 
friar  artist,  of  course,  labored  without  pecuniary  compen- 
sation ;  but  being  present  when  the  bones  of  S.  Domenico 
were  transferred  to  the  new  sarcophagus,  he  abstracted 
one  of  the  ribs  to  enrich  the  collection  of  relics  of  his 
own  convent  at  Pisa.  The  theft  was  never  discovered, 
and  he  escaped  excommunication,  but  he  could  not  die  in 
peace  until  he  had  confessed  it. 

Fra  Guglielmo  adhered  conscientiously  to  the  style  of 
Xiccola,  though  his  works  lack  some  of  the  strong  char- 
acteristics of  the  great  master. 

Arxolfo  del  Cambio  and  Tino  di  Camiaxo  were  dis- 
ciples of  Xiccola. 


GIOVANNI    PISANO. 

r^  lOVAXXI  PISAXO,  or  Giov.\nni  da  Pisa,  was 
^J^  born  not  far  from  the  middle  of  tlie  thirteenth  cen- 
tury. He  was  the  son  and  pupil  of  Xiccola  Pisano,  and 
from  his  early  youth  appears  to  have  been  the  assistant 
of  his  father  in  important  works  of  art.  Sculpture,  which 
under  the  hand  of  Xiccola  had  gained  so  much  in  free- 
dom and  expression,  was  still  further  advanced  by  Gio- 
vanni, becoming  more  the  vehicle  of  expression.  Xature 
wa.s  studied,  and  often  directly  copied,  which   gave  life 


62  SCULPTORS  OF  THE  RENAISSANCE.  [12... 

and  animation  to  his  productions,  though  sometimes  at 
the  sacrifice  of  beauty.  In  the  department  of  allegory 
Giovanni  exhibits  an  energy  and  power  of  creation  which 
are  very  marked.  In  the  expression  of  religious  feeling 
his  works  are  less  satisfying.  Though  sometimes  dis- 
tinguished by  an  air  of  dignity  and  repose,  his  works 
generally  show  a  striving  after  dramatic  effect,  which 
is  opposed  to  the  calm  and  serious  expression  requisite 
to  sacred  subjects.  An  influence  from  the  antique  here 
and  there  is  indicated,  but  the  tendency  is  to  crowd  the 
composition  with  figures,  and  to  portray  the  most  lively 
action. 

Among  the  works  attributed  to  Giovanni  is  the  Ma- 
donna del  Fiore,  which  adorns  the  second  south  portal  of 
the  cathedral  at  Florence.  It  is  a  majestic  figure,  and  the 
drapery  is  fine.  The  Virgin  is  standing  in  a  dignified  at- 
titude, holding  the  Child,  upon  whom  she  is  gazing  with 
a  thoughtful  expression  ;  in  one  hand  she  holds  a  flower, 

Giovanni  was  the  architect  of  the  celebrated  Campo 
Santo  of  Pisa.  This  burial-place  was  founded  about  the 
close  of  the  twelfth  century  by  Archbishop  Ubaldo  de' 
Lanfranchi,  who  caused  a  large  quantity  of  earth  to  be 
brought  from  Mount  Calvary  and  deposited  here.  The 
structure  which  now  encloses  it  was  commenced  in  1278 
by  Giovanni  Pisano,  to  whom  the  principal  design  is 
probably  due,  though  the  building  was  not  finished  until 
the  latter  part  of  the  fifteenth  century.  It  is  about  four 
hundred  and  fifteen  feet  in  length  by  one  hundred  and 
thirty-seven  feet  in  width,  and  is  forty-six  feet  in  height 
to  the  roof  of  the  cloister.  "  Following  the  ground  plan 
marked  out  by  Archbishop  Lanfranchi,  Giovanni  raised 
his  outer  walls  without  windows,  and  with  only  two 
doors  looking  towards  the  Duomo,  that  the  frescos,  with 


12...]  GIOVANNI  riSAXO.  53 

which  they  were  to  be  covered  on  the  inside,  might  be 
protected  as  far  as  possible  from  the  injurious  etiect  of 
the  salt  and  damp  sea-winds.  Between  these  outer  walls, 
which  he  decorated  with  arches  and  pilasters,  and  the 
inner,  directly  contiguous  to  the  quathangle,  he  made 
a  broad-roofed  corridor,  paved  with  marble,  lighted  by 
Gothic  windows  and  four  open  (.loorways,  through  which 
are  now  obtained  constantly  recurring  glimpses  of  the 
graves,  the  solemn  cypresses,  and  the  ever-blooming  roses 
of  this  '  God's  acre.'  Xothing  could  be  better  adapted  to 
its  purpose  than  the  building  thus  constructed,  which, 
completely  shutting  out  the  world,  compels  the  eye  to 
rest  upon  objects  suggestive  of  death  and  eternity."  * 

In  the  west  corridor  of  the  Campo  Santo  is  an  allegori- 
cal statue  of  the  city  of  Pisa  by  Giovanni,  which  exhibits 
his  remarkable  power  in  this  department  of  representa- 
tion. The  female  which  symbolizes  the  city  is  a  royal 
tigure,  though  of  rather  severe  aspect,  crowned  with  a 
diadem,  and  holding  an  infant  with  either  arm,  which 
she  is  nourishing  at  her  breast.  Statues  of  the  four  car- 
dinal Virtues  form  the  pedestal.  The  supporting  figures 
are  in  easy  attitudes,  all  draped  except  the  figure  of  Tem- 
])erance.  In  this  work  there  is  a  meaning  and  an  earnest- 
ness that  attract  in  spite  of  its  lack  of  beauty. 

At  Prato  Giovanni  enlarged  the  cathedral,  and  con- 
structed tlie  chapel  for  the  reception  of  the  sacra  cintola, 
the  girdle  of  the  Virgin,  which  it  was  alleged  was  brought 
from  the  Holy  Land  in  1141.  Above  the  altar  of  the 
Capella  della  Cintola  is  a  small  statue  of  the  Madonna 
by  his  hand.  He  assisted  in  building  the  cathedral  of 
Sienna.  The  fat^ade  is  said  to  be  from  his  design.  For 
his  services  there  be  received  tlie  right  of  citizenship. 

•  Q.C.  IVrkiiLS. 


54  SCULPTORS  OF  THE  RENAISSANCE.  [12..." 

At  Pistoia  he  executed  a  marble  pulpit  for  the  cathe- 
dral after  the  style  of  those  executed  by  Mccola.  It  is 
supported  by  seven  columns  of  red  marble,  which  rest 
upon  the  backs  of  animals,  and  on  the  capitals  are  alle- 
gorical female  figures ;  in  the  pendentives  are  figures  of 
prophets  holding  scrolls.  Above  are  reliefs  which  repre- 
sent New  Testament  scenes.  Some  of  these  are  classed 
among  his  best  productions.  "  In  composition  he  was 
still  deficient,  and  in  rendering  form  frequently  unfortu- 
nate ;  yet  in  his  representation  of  the  Saviour  he  less 
imitated  the  antique  than  Niccola Among  the  epi- 
sodes relative  to  the  Magi,  one  group  representing  the 
angel  warning  them  in  a  dream  not  to  return  to  Herod 
(Matthew  ii.  12),  was  essentially  worthy  of  attention,  the 
angel  being  among  the  fine  productions  of  Giovanni, 
Equally  good  was  the  relief  of  the  Nativity.  But  the  best 
portions  of  the  pulpit  were  undoubtedly  the  statues  in  the 
angles,  amongst  which  that  of  the  angel  with  a  book,  and 
surrounded  by  the  signs  of  the  three  remaining  Evange- 
lists, was  the  most  splendid  classical  group  he  had  yet 
produced,  —  remarkable  alike  for  firmness  of  attitude  and 
animation, —  and  impressed  in  the  features  with  the  char- 
acter of  an  antique  Alexander.  Here,  as  it  is  natural  to 
suppose,  the  master  was  assisted  by  pupils  to  whom  the 
feebler  portions  of  the  monument  may  be  assigned."  * 

The  pulpit  bears  this  inscription  :  — 

"  Sculpsit  Joannes  qui  res  non  egit  inanes 
Nicoli  natus  sensia  [scientia]  nieliore  beatus 
Quem  genuit  Pisa  doctum  per  omnia  visa." 

For  S.  Giovanni  Evangelista  in  Pistoia,  he  executed  a 
holy-water  basin  which  is  perhaps  the  finest  of  all  his 
works.     It  consists  of  a  font  resting  upon  a  group  of 

*  Crowe  and  Cavalcaselle. 


STATE  nOKl'.ALSCIiWL, 


12...]  GIOVANNI  PISANO.  55 

three  beautiful  figures  —  Faith,  Hope,  and  Charity;  at 
the  angles  are  halt-figures  of  Wisdom,  Justice,  Strength, 
and  Moderation. 

Among  his  latest  works  is  the  marble  pulpit  of  the  ca- 
thedral of  Pisa.  In  consequence  of  a  fire,  unfortunately, 
it  was  taken  to  pieces,  and  portions  of  the  reliefs  have 
been  fixed  to  the  walls  of  the  church.  It  was  erected  in 
its  present  form  in  1607.  "  If  this  pulpit  be  in  thought 
restored  to  its  original  form,  it  still  oflers  the  same  qual- 
ities and  deficiencies  as  that  of  Pistoia.  In  the  Crucifixion 
the  Saviour  was  still  of  a  lean  and  attenuated  form,  ana- 
tomically studied,  but  ugly,  whilst  the  group  of  the  faint- 
ing Virgin  was  an  improvement  on  previous  ones.  As 
before,  the  best  of  the  reliefs  was  that  of  the  Birth  of  the 
Saviour,  in  which  the  composition  was  fairly  distributed, 
and  the  movements  were  both  natural  and  animated.  In 
the  centre,  the  Virgin  in  a  grand  attitude  still  reminis- 
cent of  the  antique,  raised  the  veil  which  covers  the  infant 
asleep  on  a  cushion.  More  to  the  left  Joseph  sat,  whilst 
near  him  the  Saviour  was  held,  preparatory  to  being 
washed,  by  a  woman  feeling  the  temperature  of  the  water 
poured  out  by  another  female.  In  the  upper  space,  the 
episode  of  the  angel  appearing  to  the  shepherds  was  new, 
though  in  a  form  frequently  repeated  subsequently,  and, 
amongst  others,  under  the  same  laws  and  maxims,  by  Ghi- 
berti  in  the  nortli  gate  of  the  Baptister}'  of  Florence,  — 
a  fact  which  need  cause  no  surprise,  as  it  only  proves  that 
in  the  fifteenth  century  artists  returned  anew  to  the  study 
of  the  classic,  and  took  up  the  art  where  it  had  been  left 
by  the  great  Pisan."  * 

The  influence  of  Giovanni  Pisano  upon  liis  contempo- 
raries and  his  successors  is  very  marked ;  he  may  be  said 

•  Crowe  and  r'iival(;aselle. 


56  SCULPTORS  OF  THE  RENAISSANCE.  [13... 

to  occupy  in  sculpture  the  position  Giotto  occupied  in 
painting.  His  death  occurred,  according  to  Vasari,  in 
1320,  but  there  is  a  work  in  S.  Maria  dell'  Arena  in 
Padua,  attributed  to  him,  which  is  inscribed  1321.  He 
was  buried  in  the  Campo  Santo  of  Pisa. 


ANDREA    PISANO. 

ANDEEA  PISANO,  or  Andrea  di  Pontedera,  was 
born  at  Pontedera,  in  the  Pisan  territory,  in  1270. 
He  is  one  of  the  first  sculptors  of  the  Eenaissance  who 
made  a  really  appreciative  use  of  the  models  of  Greek  art 
in  connection  with  his  own  ideal  conceptions.  Though 
far  from  attaining  the  perfection  of  ancient  art,  or  of  that 
which  later  times  developed,  his  works  are  of  extraordi- 
nary merit  when  compared  with  what  had  been  accom- 
plished by  his  teachers.  It  has  been  sqid  that  "  what  Gio- 
vanni failed  to  compass  was  happily  attained  by  Andrea." 
In  the  improvement  of  design  he  deserves  a  high  rank  in 
the  history  of  early  Italian  art.  His  treatment  of  the 
nude  showed  a  knowledge  of  proportion  and  an  elegance 
of  outline  that  were  at  times  almost  like  a  return  to  Greek 
art.  His  art  was  free  from  the  pagan  ideas  which  marked 
that  of  Niccola,  and  was  stamped  with  a  true  Christian 
sentiment.  His  taste  was  pure  and  his  conception  of 
character  was  noble  ;  the  trivial  and  the  vulgar  found  no 
place  in  his  creations,  and  so  fertile  was  his  imagination 
that  he  did  not  repeat  himself  in  his  various  works. 

Andrea  was  the  assistant  of  Giovanni  in  some  of  his 
works,  and  their  names  are  associated  in  the  execution  of 
important  undertakings. 


1270.]  ANDREA  PISANO.  57 

Like  many  of  his  contemporaries,  Andrea  was  an  archi- 
tect, and  built  and  designed  various  structures  in  the  cities 
of  Italy.  In  plastic  work  he  executed  the  decorations 
upon  the  fac^ade  of  the  cathedral  of  Florence  according  to 
the  designs  of  Giotto,  most  of  which  have  Leen  removed 
and  destroyed ;  a  few  of  the  statues  are  preserved  in  the 
Palazzo  Strozzi.  Among  these  are  the  figures  of  St.  Peter 
and  St.  Paul,  adorned,  like  antique  victors,  with  laurel 
^^Teaths.  lie  also  executed  from  Giotto's  designs  reliefs 
for  the  Campanile,  which  still  remain.  On  the  west  side 
are  represented  scenes  from  the  Old  Testament,  in  M-hich 
a  noble  and  truly  religious  sentiment  is  manifest.  "  Here, 
in  all  its  vigor,  and  with  a  purely  Italian  cliaracter,  stat- 
uary disclosed  itself,  free  from  the  mannerisms  or  deficien- 
cies of  Xiccola  or  Giovanni.  It  had  assumed  the  types  of 
Giotto,  and  clothed  itself  in  a  new  garb,  in  which  not  a 
trace  of  the  pagan  remained  ;  but  in  its  stead  a  more 
Christian  sentiment  prevailed.  It  is  not  possible  to  find 
anything  finer  in  the  century  than  the  noble  figure  of  the 
Eternal,  softly  approaching  the  recumbent  Adam,  extend- 
ing his  hand,  and  issuing  the  fiat,  in  obedience  to  which 
the  man  seems  to  live  and  to  raise  a  part  which  has  be- 
gun to  receive  animation.  As  a  composition  of  two  fig- 
ures a.ssisted  by  the  judicious  placing  of  two  or  three 
trees,  this  is  a  masterpiece  of  artful  simplicity."  *  He 
represented  on  tlie  south  and  east  sides  the  various  in- 
dustries and  inventions  of  man ;  and  upon  the  north,  the 
seven  liberal  arts  and  sciences.  Among  the  statues  in 
the  niches  above  the  second  course  of  ornaments,  four 
figures  of  prophets  are  by  Andrea. 

The  master-work  of  Andrea  is  the  bronze  door  of  the 
Baptistery  at  Florence,  whicli  surpa.ssed  anything  that  had 

•  Crowe  and  ( 'avalrasi-lle. 


58  SCULPTORS  OF  THE  RENAISSANCE.  [1270. 

hitherto  been  achieved,  and  became  the  pride  of  the  Ee- 
public.  For  this  work,  which  occupied  twenty-two  years 
in  the  execution,  the  artist  received  the  rights  of  citizen- 
ship. It  was  sculptured  after  designs  by  Giotto.  Upon 
the  door  are  represented  the  principal  scenes  in  the  life 
of  St.  John  the  Baptist.  It  is  divided  into  twenty-eight 
panels,  or  compartments,  twenty  of  them  containing  each 
one  scene ;  the  remaining  eight  contain  single  figures  of 
the  Virtues.  The  stories  are  given  with  great  distinctness, 
each  comprising  but  few  figures  simply  placed,  with  no 
superfluous  accessories.  The  series  commences  with  the 
message  of  the  Angel  to  Zacharias  in  the  temple ;  this  is 
followed  by  the  scene  in  which  Zacharias  appears  before 
his  family  in  his  state  of  temporary  dumbness.  The  third 
scene  is  the  visit  of  Mary  to  Elizabeth,  in  w^hich  the  two 
appear  beneath  an  arcade ;  this  is  one  of  the  most  beau- 
tiful reliefs,  and  is  similar  to  the  pictures  of  the  Visita- 
tion by  later  artists.  This  is  followed  by  the  Birth,  the 
Naming  of  John,  his  early  life  in  the  deserts  of  Ju- 
daea, the  questioning  of  the  Pharisees  as  to  whether 
John  was  the  Messiah,  "  Behold  the  Lamb  of  God,"  John 
Baptizing,  and  the  Baptism  of  Christ,  which  is  one  of  the 
most  admirable  of  the  series.  Then  follows  the  Im- 
prisonment of  John,  the  Message  sent  by  John's  disci- 
ples to  Christ,  the  Declaration  of  Christ  regarding  the 
mission  of  John,  the  Birthday  Festival  of  Herod,  and 
the  Beheading  of  John.  The  two  last  scenes,  in  which 
the  disciples  took  up  the  body  of  John  and  laid  it  in  the 
tomb,  are  among  the  finest,  and,  though  very  simple,  are 
full  of  pathos.  This  work,  so  greatly  eclipsed  by  the  later 
and  more  picturesque  work  of  Lorenzo  Ghiberti,  will  still 
repay  the  most  careful  study.  The  beauty  of  many  of  the 
figures,  the  simple  flow  of  the  drapery,  the  calm  repose, 


12Wl]  ANDREA  PISANO.  59 

or  the  dignified  action  expressed  in  the  different  scenes, 
combine  to  render  it  one  of  the  noblest  productions  of 
the  fourteenth  century,  a  memorial  of  the  genius  of  Giotto 
di  Bondoue  and  of  Andrea  Pisano.  This  door  occupied 
the  central  position  until  Clhiberti  executed  his  first  door 
for  the  Baptistery,  when  it  was  removed  to  one  side. 

The  date  of  Andrea's  death  is  given  as  1335,  but  he 
undoubtedly  lived  to  a  much  later  period.  He  was  buried 
in  the  cathedral  at  Florence. 

Nino  Pisano,  son  of  Andrea,  was  eminent  as  a  sculp- 
tor, and  assisted  his  father  upon  the  door  of  the  Baptistery, 
and  was  the  author  of  various  independent  works.  These 
are  remarkable  for  a  delicate  smoothness  of  finish,  and  for 
the  graceful  disposition  of  the  draperies.  Some  of  his 
best  productions  are  to  be  seen  in  the  beautiful  little 
church  of  S.  Maria  della  Spina,  in  Pisa.  For  the  high 
altar  he  executed  a  Madonna  and  Child,  with  the  saints 
Peter  and  Paul  The  St.  Peter  is  a  portrait  of  his  father, 
Andrea. 


TOMMASO   DE'   STEFANI  MASUCCIO. 

TUMMASO  DE'  STEFANI  MASUCCIO,  called  also 
Masuccio  il  Secondo  and  Masuccio  the  Younger, 
bom  in  1291,  was  a  pupil  of  Masuccio  the  elder,  an  archi- 
tect and  sculptor,  who  was  born  and  labored  at  Naples. 
The  history  of  these  artists  is  involved  in  such  obscurity 
that  their  names  seem  almost  mythical,  though  the  works 
attri])uted  to  them  are  of  considerable  importance  in  the 
development  of  early  Italian  art. 

It  is  supposed  that  Masuccio  the  younger  spent  some 
time  in  Ilome,  and  that  the  study  of  the  monuments  of 


60  SCULPTORS  OF  THE  RENAISSANCE.  [i29L 

antiquity  imparted  to  his  style  a  purity  and  taste  beyond 
that  attained  by  his  instructors. 

The  church  of  S.  Chiara  in  Naples  was  rebuilt  in  1318 
by  Masuccio  the  younger.  Back  of  the  high  altar  are 
the  monuments  of  King  Robert  the  Wise,  and  his  son, 
Charles  of  Calabria,  by  his  hand.  These  are  among  the 
principal  sculptures  of  the  period.  In  the  church  of 
S.  Domenico  (one  of  the  finest  churches  of  Naples,  built 
from  designs  by  Masuccio  the  elder)  are  several  sculp- 
tured monuments  attributed  to  him. 

The  Campanile  of  S.  Chiara  has  been  assigned  by  some 
to  Masuccio  the  younger,  by  others  to  one  of  his  pupils. 
He  died  in  1388. 


ANDREA    ORCAGNA. 

ANDEEA  0  EC  AGIST  A,  or  Arcagno,  was  the  son 
of  a  Florentine  goldsmith  named  Clone.  He 
always  designated  himself  as  Andrea  di  Cione  ;  his 
contemporaries  called  him  Orcagna,  a  corruption  of  Ar- 
cagnuolo,  or  the  Archangel,  and  by  this  name  he  is  best 
known  in  history.  He  was  probably  born  near  the  be- 
ginning of  the  fourteenth  century,  but  the  date  is  not 
known  with  certainty.  Orcagna's  genius  was  of  the 
highest  order,  and  had  he  possessed  scientific  knowledge 
he  would  have  been  one  of  the  greatest  artists  of  his 
country.  He  excelled  in  sculpture,  in  architecture,  and 
in  painting,  and  gave  an  impulse  to  the  art  of  his  time  in 
all  its  branches.  His  frescos  are  so  faded  and  damaged 
that  his  merits  as  a  painter  can  now  scarcely  be  under- 
stood ;  but  his  finest  work  in  sculpture,  the  Tabernacle  of 
Or  San  Michele,  stands  in  imperishable  beauty,  as  it  has 


a...]  AXDREA  ORCAGXA.  CI 

stood  for  five  centuries.  The  church*  which  contains 
this  remarkable  shrine  was  originally  a  market-place,  and 
the  lower  portion  was  converted  into  a  church  under  tlie 
direction  of  Orcagna  himself  During  the  plague  of 
1348,  the  offerings  made  to  the  company  which  had  been 
formed  in  honor  of  the  Madonna  of  Or  San  Michele 
amounted  to  a  large  sum,  and  this  was  finally  devoted 
to  the  erection  of  a  fitting  shrine  for  the  miracle-working 
image,  and  Orcagna  was  intrusted  with  its  execution. 
This  work  occupied  the  artist  for  eleven  years,  though  he 
employed  various  masters  in  sculpture  to  execute  differ- 
ent parts.  The  ligures,  however,  are  all  the  work  of  his 
own  hands,  assisted  by  his  brother  Bernardo,  and  they 
are  certainly  among  the  most  beautiful  sculptures  of  the 
century.  The  design  of  the  whole  is  no  less  remarkable 
than  its  details  ;  it  is  a  Gothic  pyramidal  structure  of 
white  marble,  rising  nearly  to  the  roof  of  the  church,  and 
is  of  the  most  graceful  jirojjortions.  The  history  of  tlie 
Virgin  is  represented  in  nine  scenes  in  bas-relief  upon 
the  shrine,  two  upon  each  face  of  the  basement,  and  the 
ninth  above,  a  large  scene,  covering  the  back  of  the 
tabernacle.  The  history  commences  upon  the  north  side, 
with  the  Birth,  and  the  Dedication  of  the  Virgin  ;  upon 
the  west  is  the  Annunciation,  and  the  jMarriage  of  the 
Virgin ;  and  upon  the  soutli  side  is  the  Birth  of  Christ, 
and  the  Adoration  of  the  Kings.  Upon  the  east  face  is 
represented  the  Purification,  and  the  angel  presenting  a 
palm-branch  to  the  Virgin  as  a  symbol  of  her  approach- 
ing decease.  The  large  scenes  at  the  back  represent  the 
Death  and  Assumi)tion  of  the  Virgin.  The  figures  of 
the  apostles  in  this  relief  are  es]>ecially  fine,  and  in  one 
of  them  Orcagna  has  left  his  own  ])ortrait.  lU'tween 
the  scenes  in  relief  arc  figures  of  (he  Virtues,  and  at 
•  .S<-c  ])..iial.-ll.i,  J..  78. 


62  SCULPTORS  OF  THE  RENAISSANCE.  [13... 

the  angles  of  the  piers  are  figures  of  apostles,  prophets, 
and  other  sacred  personages.  Crowning  the  whole  is 
the  figure  of  the  Archangel  Michael,  with  his  sword  in 
one  hand  and  the  globe  in  the  other,  attended  by  two 
angels  bearing  shields.  Every  part  of  this  shrine  is 
finished  and  adorned  in  the  most  exquisite  manner ;  the 
graceful  statuettes,  the  clustering  pillars  and  pinnacles, 
and  the  rich  mosaics,  combine  to  render  it  one  of  the 
most  splendid  monuments  of  art,  and  worthy  of  its  title 
of  the  "  Jewel  of  Italy."  Lord  Lindsay  said :  "  We  can- 
not wonder,  considering  the  labor  and  the  value  of  the 
materials  employed  on  this  tabernacle,  that  it  should  have 
cost  eighty-six  thousand  of  the  gold  florins  treasured  up 
in  the  Or  San  Michele,  —  or  hesitate  in  agreeing  with 
Vasari,  that  they  could  not  have  been  better  spent." 

According  to  Vasari,  Orcagna  died  at  the  age  of  sixty 
years. 


JACOPO    DELLA    QUERCIA. 

JACOPO  DELLA  QUEECIA,  the  most  eminent  of  the 
early  Tuscan  masters,  was  born  at  Querela,  a  small 
market  town  in  the  vicinity  of  Sienna,  in  1374.  He  was 
an  artist  of  great  originality  and  independence,  and  his 
earliest  works  prove  that  he  had  found  the  path  which 
would  lead  to  the  highest  excellence.  His  father  was  a 
goldsmith,  and  probably  educated  Jacopo  in  this  art,  for 
his  works  were  finished  with  remarkable  care  and  deli- 
cacy. He  evidently  studied  antique  art,  and  imitated  it 
to  some  extent,  and,  further  aided  by  his  study  of  nature, 
he  departed  wholly  from  the  traditional  constraint  which 
had  in  greater  or  less  measure  adhered  to  all  his  immedi- 
ate predecessors. 


1OT4]  JACOPO  DELLA  QUERCIA.  63 

About  1412  Jacopo  was  commissioned  by  tbe  Signoria 
of  Sienna  to  adorn  with  sculptures  a  fountain  in  the 
Piazza  del  Campo  (now  Vittorio  Emanuele).  Near  the 
middle  of  the  fourteenth  century  water  had  been  brought 
by  conduits  into  the  city,  and  the  fountain  which  it  sup- 
plied was  called  "  Fonte  Gaja,"  in  expression  of  the  joy 
with  which  the  blessing  was  received.  The  new  foun- 
tain was  first  adorned  with  an  antique  statue  of  Venus. 
The  years  that  followed  were  full  of  tumult  and  calamity 
in  the  city,  and  the  people  believed  it  to  be  in  conse- 
quence of  the  setting  up  of  a  heathen  divinity  among 
them.  The  statue  was  therefore  removed,  and,  later, 
Jacopo  della  Querela  was  employed  to  decorate  the  Fonte 
Gaja  with  Christian  sculptures.  He  erected  a  three-sided 
marble  parapet,  upon  which  were  sculptured  the  Madonna 
and  Cliild,  statues  of  the  seven  theological  Virtues,  and 
two  scenes  in  relief,  representing  the  Creation  of  Man, 
and  the  Expulsion  from  Eden,  with  emblems  relating  to 
the  city  of  Sienna.  For  this  beautiful  work  the  artist  re- 
ceived tlie  name  of  Jacopo  della  Fonte.  These  sculp- 
tures which  had  become  much  damaged  with  time,  have 
now  been  removed  to  the  Opera  del  Duomo,  and  a  copy 
of  the  whole  work  by  the  sculptor  Sarrochi  has  been 
erected  in  its  place. 

One  of  Jacopo's  most  delicately  treated  works  is  the 
tomb  of  Ilaria  Guinigi,  IMarchesa  de  Carretto,  wife  of 
I'aolo  Guinigi,  Lord  of  Lucca,  in  the  cathedral  of  Lucca. 
The  sculptured  figure  of  the  deceased  is  in  the  attitude 
of  repose,  tbe  arms  lying  straight,  with  tlie  hands  simply 
cro.s.sed,  the  feet  and  limbs  covered  with  drapery.  At 
the  feet  is  a  hound,  the  emljlem  of  conjugal  fidelity.  Mr. 
Ruskin  says  :  "  If  any  of  us,  after  staying  for  a  time  be- 
side tlus  tomb,  could  see,  through  his  tears,  one  of  the 


■64  SCULPTOES  OF  THE  RENAISSANCE.  [1374. 

vain  and  unkind  encumbrances  of  the  grave,  which,  in 
these  hollow  and  heartless  days,  feigned  sorrow  builds  to 
foolish  pride,  he  would,  I  believe,  receive  such  a  lesson  of 
love  as  no  coldness  could  refuse,  no  fatuity  forget,  and  no 
insolence  disobey." 

In  the  chapel  of  St.  John  the  Baptist  of  the  cathedral 
at  Sienna,  he  executed  a  marble  font  with  beautiful  re- 
liefs, representing  scenes  from  the  Old  Testament.  Upon 
the  font  of  S.  Giovanni  of  the  same  city,  Jacopo  executed 
two  bronze  reliefs,  representing  the  Birth  and  the  Preach- 
ing of  St.  John  the  Baptist ;  the  remaining  reliefs  upon 
the  font  are  the  work  of  other  artists. 

In  1425  this  artist  was  summoned  to  Bologna,  and 
commissioned  with  the  work  of  adorning  the  principal 
door  of  the  church  of  S.  Petronio.  Here  he  represented, 
in  ten  reliefs,  scenes  from  the  Book  of  Genesis.  On  tlie 
architrave  he  represented  scenes  from  the  life  of  Christ. 
Besides  the  reliefs  the  door  is  adorned  with  half-length 
figures  of  prophets  and  sibyls.  This  is  one  of  the  most 
beautiful  works  of  the  time,  and  may  be  considered  the 
masterpiece  among  Jacopo's  reliefs.  The  single  figures  are 
full  of  individuality,  and  the  scenes  in  relief  are  distinct 
and  lifelike.  The  sculptured  pictures  illustrating  the 
early  history  of  humanity  are  invested  with  a  charm  and 
freshness  that  are  very  rare.  The  figures  are  few,  and 
the  arrangement  is  of  classic  simplicity.  The  Creation  of 
Eve  is  one  of  the  most  admirable.  "  Without  this  ante- 
cedent sketch,  Michael  Angelo  might  not  have  matured 
the  most  complete  of  all  his  designs  in  the  Sistine  chapel. 
The  similarity  between  Delia  Quercia's  bas-relief  and 
Buonarotti's  fresco  of  Eve  is  incontestable.  The  young 
Florentine,  while  an  exile  in  Bologna  and  engaged  upon 
the  shrine  of  S.  Domenico,  must  have   spent  hours  of 


1374.]  JACOrO  BELLA  QUERCLV.  65 

study  before  the  sculptures  of  S.  Petronio;  so  that  this 
seed  of  Delia  Quercia's  sowing  bore  after  many  years  the 
fruit  of  world-renowned  achievement  in  Eome."  * 

Jacopo  died  in  Sienna  in  1438.  One  of  his  most  emi- 
nent followei-s  was  Xiccolid  dell'  Arca,  who  labored  in 
Bologna  in  the  fifteenth  century. 


FILIPPO    BRUNELLESCO. 

FILirPO  BRUXELLESCO,  born  in  Florence  in  1377, 
is  celebrated  as  one  of  the  greatest  architects  that 
ever  lived,  and,  though  the  greater  part  of  his  life  was 
devoted  to  the  practice  of  architecture,  he  is  of  sutiicient 
importance  in  the  history  of  sculpture  to  merit  a  place 
among  the  best  artists  of  his  time.  His  ohl  biographer, 
Vasari,  tells  us  tliat  "  his  birth  was  solemnized  witli  all 
possible  gladness.  As  the  infant  advanced  in  childhood, 
his  father  taught  him  the  first  rudiments  of  learning  with 
the  utmost  care,  and  herein  Filippo  displayed  so  much 
intelligence,  and  so  clear  an  understanding,  as  to  fre- 
quently cause  surprise  that  he  did  not  take  pains  to 
attain  perfection  in  letters,  but  rather  seemed  to  direct 
his  tlioughts  to  matters  of  more  obvious  utility,  a  cir- 
cumstance which  caused  Ser  Brunellesco,  —  who  wished 
his  son  to  follow  his  own  calling  of  a  notary,  or  that  of  his 
great-great-gi-andl'ather,  very  great  di.spleasure.  Perceiv- 
ing, nevertheless,  that  the  mind  of  the  boy  was  constantly 
intent  on  various  ingenious  questions  of  art  and  mechan- 
ics, he  made  him  learn  writing  and  arithmetic,  and  then 
])laced  him  in  the  guild  of  the  gfddsmitlis,  tliat  he  might 
acquire  the  art  of  design." 

•  .1.  A.  Syiiioiids. 


66  SCULPTORS  OF  THE  RENAISSANCE.  [1377. 

Brunellesco,  having  learned  all  the  branches  of  the 
goldsmith's  art,  seems  for  a  time  to  have  inclined  to  the 
practice  of  sculpture ;  but  circumstances  having  turned 
his  attention  to  architecture,  he  at  length  wholly  aban- 
doned design  and  sculpture  for  the  pursuit  in  which  he 
nobly  earned  the  reputation  of  being  the  greatest  engi- 
neering architect  of  his  time. 

He  was  one  of  the  competitors  for  the  work  of  the 
famous  bronze  door  of  the  Baptistery  at  Florence,  and  his 
trial  relief,  representing  the  Sacrifice  of  Abraham,  was 
admirably  conceived  and  executed.  It  is  declared  to  be 
more  in  accordance  with  the  strict  rules  of  sculpture  than 
the  relief  of  Ghiberti,  to  whom  the  award  was  given, 
though  less  calculated  to  please.  This  work  is  still  pre- 
served in  the  Museum  of  the  Bargello. 

In  competition  with  Donatello,  whom  he  seems  to 
have  regarded  as  deficient  in  religious  feeling,  he  carved 
a  wooden  crucifix,  which  is  remarkable  for  its  expression, 
though  it  is  not  above  criticism  in  all  points  ;  it  is  in  the 
Chapel  de'  Gonde  of  S.  Maria  Novella. 

In  the  time  of  Brunellesco,  architecture  as  a  science 
suffered  almost  total  neglect,  and  to  him  is  due  the  credit 
of  its  revival,  and  a  restoration  of  the  principles  of  the 
antique.  He  went  to  Eome,  where  he  diligently  stud- 
ied the  remains  of  ancient  architecture,  making  careful 
measurements  and  drawings,  and  by  the  most  unwearied 
labor  collecting  the  information  which  he  afterwards 
used  to  such  good  purpose.  When  out  of  money,  he  sup- 
plied his  wants  by  setting  precious  stones  for  the  gold- 
smiths of  Eome. 

In  the  year  of  his  return  to  Florence  an  assemblage 
of  engineers  and  architects  was  gathered,  at  the  request 
of  the  superintendents  of  the  works  of  the  cathedral,  S. 


isn.]  FILIPPO  BRIWELLESCO.  67 

Maria  del  Fiore,  and  Bnmellesco,  who  was  among  them, 
unfolded  a  plan  which  he  had  been  maturing  for  raising 
the  cupola  of  the  unfinished  building.  It  was,  however, 
after  some  years  of  delay  that  the  work  was  intrusted  to 
him,  which  he  commenced  about  1420.  Before  his  death 
Brunellesco  had  the  satisfaction  of  seeing  his  dome  com- 
pleted, except  the  exterior  of  the  drum  beneath  the 
cupola.  Pleasured  diametrically,  it  is  the  largest  dome 
in  the  world,  and  it  became  the  admimtion  and  wonder 
of  all  later  architects  and  artists,  among  them  Michael 
Angelo,  who  declared  that  it  could  not  be  surpassed.  In 
excellence  of  construction  it  perhaps  could  not  be,  but  in 
beauty  it  was  surpassed  by  the  dome  of  St.  Peter's,  de- 
signed by  ^lichael  Angelo  himself. 

About  1435  Brunellesco  was  employed  to  execute  de- 
sifrns  for  the  Pitti  Palace,  and  under  his  direction  it  was 
raised  to  the  second  story  ;  in  its  completion  his  succes- 
sors, it  is  said,  did  not  deviate  from  his  designs.  This  edi- 
fice is  doubtless  unsurpassed  in  monumental  grandeur  by 
any  palace  in  Europe.  The  facade  is  four  hundred  and 
sixty  feet  in  length,  and  each  of  its  three  stories  is  forty 
feet  in  height.  Immense  round  arcades  support  the  win- 
dows, and  a  simple  balustrade  runs  ahmg  the  top  of  the 
fa(;ade.  M.  Taine  says  :  "  What  is  really  unique,  and  car- 
ries to  an  extreme  the  grandiose  severity  of  the  edifice,  is 
the  vastness  of  the  material  of  which  it  is  built.  It  is 
not  stone,  but  fragments  of  rock,  and  almost  sections  of 
mountains.  Scarcely  hewn  out,  rugged  and  dark,  they 
preserve  their  original  asperity,  as  would  a  mountain  if 
torn  from  its  foundations,  broken  into  fragments,  and 
erected  on  a  new  site  by  cyclopcan  hands." 

Brunellesco  rebuilt  the  church  of  S.  Lorenzo,  in  Flo- 
rence, and  built  the  present  churcli  of  tlie  Santo  Spirito, 


68  SCULPTORS  OF  THE  RENAISSANCE.  [1377. 

the  interior  of  which  is  considered  the  finest  of  his  works, 
though  it  was  not  completed  until  his  death,  and  his 
designs  were  not  exactly  carried  out.  It  is  in  the  form 
of  a  Latin  cross,  and,  with  its  four  pillars  and  thirty-one 
Corinthian  columns,  its  interior  is  very  attractive.  Mr. 
Fergusson  says  that  all  in  all  S.  Spirito  is  "  internally  as 
successful  an  adaptation  of  the  basilican  type  as  its  age 
presents." 

Vasari  tells  us  that  the  character  of  Brunellesco  was 
"  adorned  by  the  most  excellent  qualities,  among  which 
was  that  of  kindliness,  insomuch  that  there  never  was  a 
man  of  more  benign  and  amicable  disposition;  in  judg- 
ment he  was  calm  and  dispassionate,  and  laid  aside  all 
thought  of  his  own  interest,  and  even  that  of  his  friends, 
whenever  he  perceived  the  merits  and  talents  of  others  to 
demand  that  he  should  do  so.  He  knew  himself,  in- 
structed many  from  the  stores  of  his  genius,  and  was  ever 
ready  to  succor  his  neighbor  in  all  his  necessities ;  he  de- 
clared himself  the  confirmed  enemy  of  all  vice,  and  the 
friend  of  those  who  labored  in  the  cause  of  virtue."  Bru- 
nellesco died  in  144G,  and  was  buried  with  great  honors 
in  the  cathedral  where  his  tomb  is  to  be  seen,  with  a 
portrait-bust  by  one  of  his  disciples,  II  Buggiano.  But 
his  noblest  monument  is  the  dome  above,  which  his 
genius  raised  to  its  vast  height. 

The  following  epitaph  was  written  by  Giovanni  Bat- 
tista  Strozzi :  — 

"  Tal  sopra  sasso  sasso 
Di  giro  in  giro  eternamente  io  strussi ; 

Che  cosi,  passo  passo 
Alto  girando,  al  ciel  mi  ricondussi." 

As  stone  on  stone  I  piled,  — 
Toiling  forever,  building  round  and  round, 

So  step  b}^  step  I  climbed. 
Higher  and  higher  still,  till  heaven  I  found. 


1378.J  LORENZO  GHIBERTI.  69 


LORENZO    GHIBERTI. 

LOREXZO  GHIBERTI,  oue  of  the  most  eminent 
sculptoi-s  of  the  Renaissance,  was  born  in  Florence 
in  1378,  or,  according  to  some  authorities,  in  1381.  We 
are  told  by  Vasari  that  he  was  the  son  of  "  Clone  di  Ser 
lUionaccorso  and  his  wife,  ^ladouna  Fiore,"  and  that  after 
his  father's  death  his  mother  was  married  to  Bartolo  di 
Michele.  AVe  can  know  little  of  the  childhood  or  the 
youth  of  Lorenzo ;  but  we  may  know  that  he  was  en- 
dowed by  nature  with  a  sense  of  beauty  and  grace  in  no 
cuumion  measure ;  and  thougli  Florence  was  not  then  as 
now  the  centre  of  inexhaustible  art  treasures,  yet  there 
existed  much  to  fascinate  the  eye  and  cultivate  the 
imagination  of  a  young  artist,  —  the  beautiful  churches 
and  palaces  of  Arnolfo,  the  works  of  Orcagna  in  archi- 
tecture and  sculpture ;  and,  above  all,  that  "  headstone 
of  beauty,"  the  Campanile,  had  been  raised  by  the  shep- 
herd of  Vespignano. 

Bartolo,  or  Bartoluccio,  as  he  is  now  called,  was  a  gold- 
smith, and,  it  is  supposed,  instructed  his  young  step-son  in 
tbat  art.  It  is  said  that  Lorenzo  also  received  instruction 
from  Gherardo  Starnini,  known  as  the  instructor  of  vari- 
ous celebrated  artists.  In  1400  Lorenzo  left  his  native 
city  for  a  time,  on  account  of  the  visitation  of  the  plague  ; 
but  l]e  kept  up  his  study  of  design,  and  continued  the 
practice  of  modelling  in  wax  and  plaster,  which  he  had 
begun. 

In  1401  he  was  recalled  to  Florence  for  the  purpose  of 
competing  for  the  work  of  the  second  bronze  door  of  the 
I'aptistery.  The  subject  chosen  for  a  trial  relief  was  the 
hucritice  of  Aljraham,  and  a  number  of  the  most  skilful 


70  SCULPTORS  OF  THE  RENAISSANCE.  [im 

artists  of  Italy  were  selected  to  present  to  the  Consuls  an 
example  of  their  artistic  abilities  in  its  execution.  The 
examination  took  place  at  the  end  of  the  year  which  had 
been  allotted,  and  the  work  of  Lorenzo  —  or  Ghiberti,  by 
which  name  he  is  best  known  —  was  chosen  by  the 
judges  as  being  of  the  highest  excellence.  The  work  of 
Brunellesco,  who  was  one  of  the  competitors,  was  of 
marked  excellence,  but  it  had  been  executed  in  several 
pieces  and  joined  together,  while  that  of  Ghiberti  had 
been  executed  in  one  piece.  Both  reliefs  are  preserved 
in  the  Museum  of  the  Bargello,  in  Florence. 

In  1339  Andrea  Pisano  had  completed  the  first  bronze 
door  of  the  Baptistery;  in  1403  Lorenzo  Ghiberti  com- 
menced the  work  of  the  second.  It  consists  of  twenty- 
eight  compartments,  or  panels,  twenty  of  them  illustrating 
New  Testament  scenes,  and  the  remaining  eight  contain- 
ing figures  of  the  Evangelists  and  doctors  of  the  Church, 
each  enclosed  in  an  elaborate  framework.  The  New 
Testament  scenes  occupy  the  upper  panels  of  the  door, 
commencing  with  the  Annunciation,  and.  ending  with 
the  Descent  of  the  Holy  Spirit.  The  figures  are  lifelike, 
the  groups  are  full  of  spirit  and  meaning,  and  the  execu- 
tion is  of  the  utmost  delicacy.  This  work  gave  so  much 
satisfaction  that  the  sculptor  was  commissioned  to  execute 
a  third  door ;  it  was  also  decided  that,  when  completed,  it 
should  occupy  the  central  position,  and  the  one  executed 
by  Pisano  be  removed  to  one  side. 

In  the  selection  of  the  subjects  for  his  second  door, 
Ghiberti  was  assisted  by  the  historian  Leonardo  Bruni,  of 
Arezzo.  The  work  is  divided  into  ten  compartments,  and 
illustrates  Old  Testament  history,  each  compartment  con- 
taining several  complete  scenes.  The  first  contains  the 
creation  of  Adam  and  Eve,  the  first  transgression,  and  the 


im]  LORENZO  GHIBERTI.  71 

expulsion  from  Eden ;  the  second,  Adam  and  Eve  witli 
Cuiii  and  Abel  as  children,  Cain  and  Abel  at  their  labor, 
Cain  and  Abel  offering  sacrifice,  the  death  of  Abel,  and 
the  Lord  interrogating  Cain  ;  the  third,  Noah  and  his  fam- 
ily leaving  the  ark,  with  the  animals  and  birds,  the  sacri- 
fice of  Noah,  his  vineyard,  and  his  inebriation ;  the  fourth, 
Abraliam  and  the  three  angels,  the  sacrifice  of  Abraham, 
and  the  servants  of  Abraham  at  the  foot  of  the  mountain. 
The  fifth  panel  contains  the  birth  of  Jacob  and  Esau,  — 
Esau  as  a  hunter,  and  Jacob  receiving  his  father's  bless- 
ing. These  scenes  are  a  graphic  and  touching  picture  of 
the  familiar  story.  In  the  sixth  panel,  which  is  one  of 
the  most  beautiful,  is  the  history  of  Joseph,  —  Joseph  sold 
liy  his  brethren,  his  meeting  with  them  in  Egypt,  the 
finding  of  the  cup  in  Benjamin's  sack,  and  Joseph  making 
himself  known  to  his  bretliren.  The  seventh  represents 
Closes  receiving  the  tables  of  the  Law,  Joshua  awaiting  the 
return  of  Moses,  and  the  children  of  Israel  at  the  foot  of 
Mount  Sinai ;  the  eighth,  bearing  the  ark  of  the  covenant 
over  the  Jordan,  carrying  the  memorial  stones,  and  the  de- 
struction of  the  walls  of  Jericho  ;  the  ninth,  David  slaying 
Ooliath,  the  armies  of  the  Israelites  and  Philistines,  and 
I  )avid  returning  with  the  head  of  Goliath  ;  the  tenth  and 
la.st,  the  visit  of  the  Queen  of  Sheba  to  Solomon.  These 
scenes  are  all  portrayed  with  vividness,  and  with  great 
minuteness  of  detail  ;  many  of  the  compositions  are  em- 
l)ellished  by  the  introduction  of  appropriate  architecture. 
The  figures  and  attitudes  are  graceful  and  life-like,  and 
the  noble  and  simple  dra})ery  gives  them  almost  the 
1>eauty  of  anti([ue  statues.  Tlie  groups  are  arranged  in 
]»en<[)f;ctive,  as  upon  canvas,  and  tliougli  this  lias  been 
])ronounced  "pernicious  to  plastic  art,"  the  charm  of  the 
wliule  is  freely  admitted.      In  each  history  the  most  im- 


72  SCULPTORS  OE  THE  RENAISSANCE.  [ism 

portant  and  absorbing  scene  lias  been  made  most  promi- 
nent, and  the  thought  which  conceived  them  is  only 
equalled  by  the  skill  and  taste  with  which  they  are 
modelled.  The  festive  splendor  of  the  last  scene  is  like 
the  closing  of  a  beautiful  drama. 

In  the  framework  that  surrounds  the  panels  are  niches 
containing  statuettes  of  prophets  and  sibyls,  and  at  each 
angle  is  a  head  in  full  relief  At  the  inner  angles  of  the 
third  and  sixth  panels  are  the  heads  of  Ghiberti,  and  his 
step-father,  Bartoluccio.  Outside  of  all  is  a  rich  border 
of  fruits,  flowers,  and  foliage,  upon  which  a  variety  of 
beautiful  birds  are  represented.  The  execution  of  these 
two  doors  occupied  Ghiberti  for  more  than  forty  years  ; 
the  result  of  that  patient  toil  has  been  the  pride  of  his 
country  and  the  admiration  of  the  world  for  more  than 
four  hundred  years. 

Other  important  Avorks  in  sculpture  by  Ghiberti  are  the 
statues  of  St.  John  the  Baptist,  St.  Mattliew,  and  St.  Ste- 
phen, for  the  exterior  of  Or  San  Michele,  and  the  shrine 
of  St.  Zenobius  beneath  the  central  altar  of  the  apse  in 
the  cathedral  of  Florence.  The  reliefs  upon  this  shrine, 
which  contains  the  relics  of  the  saint,  represent  various 
legends  from  his  life.  The  principal  one  adorns  the  front, 
and  is  very  beautiful ;  it  represents  the  restoration  of  a 
dead  child  to  life  by  the  prayers  of  Zenobius.  The  dead 
body  lies  in  the  centre,  the  mother  and  the  saint  kneel  at 
either  side,  and  the  spirit  of  the  little  child  is  hovering 
over  the  group,  while  sympathizing  spectators  crowd 
around.  The  scene  is  made  more  picturesque  by  the 
glimpse  of  a  far-off  city.  At  the  back  of  the  shrine  is 
an  inscription  enclosed  by  a  garland  held  by  angels. 

Vasari  mentions  a  son  of  Lorenzo  Ghiberti,  named 
Bonaccorso,  who  completed  some  of  the  works  left  unfin- 


1378.]  LORENZO   GHIBERTI.  73 

ished  at  his  father's  de<ath ;  and  Vittorio,  son  of  Bonac- 
corso,  who  was  also  a  sculptor.  According  to  Baldinucci, 
the  son  and  heir  of  Lorenzo  was  Vittorio,  and  Bonaccorso 
was  his  grandson.  Michael  Angelo  said  :  "  Woe  to  Lo- 
renzo Ghiberti,  if  he  had  not  made  the  gates  of  San  Gio- 
vanni ;  for  his  children  and  grandchildren  have  sold  or 
S(|uanderfd  all  that  he  left,  but  the  gates  are  still  in 
their  place." 

Lorenzo  Ghiberti  died  in  1455  and  was  buried  in  Santa 
Croce,  in  Florence,  it  is  recorded,  but  his  tomb  is  not  now 
to  be  found. 


DONATELLO. 

COXTEMPOIiAKY  with  Ghiberti,  and  his  equal  in 
artistic  talent,  was  Donato  di  Niccolo  di  Betto 
B.A.RDI,  called  by  himself  and  by  his  companions  Dona- 
TELLO.  The  bold  and  rugged  style  of  Donatello  is  in  con- 
spicuous contrast  with  the  polished  art  of  Ghiberti,  as  was 
his  spirited  nature  with  that  of  his  gentle  rival.  His 
character  and  his  style  of  art  were  consistent,  and  it  has 
been  said  that  "  his  life  and  works,  if  studied  apart  by  a 
philu.sopher  and  a  critic,  would  yield  the  same  conclusions 
to  both."  There  is  a  powerful  masculine  energy  displayed 
iu  everything  which  he  undertook ;  the  marks  of  his 
strong,  uncurbed  nature  are  everywhere  to  be  traced  in 
his  creations  ;  but  not  less  ccmspicuous  are  the  more  ge- 
nial qualities  of  liis  disjtositiuu.  lie  may  be  called  the 
prototyj)e  of  Michael  Angelo,  whose  more  finislied  and 
elevated  style  was  evidently  moulded  by  a  faithful  study 
of  his  works.    Miciiael  Angido's  sculptures  resemble  those 


H  SCULPTORS  or  THE  RENAISSANCE.  [138& 

of  Donatello,  as  the  works  of  Eaphael  suggest  the  more 
gentle  and  tranquil  style  of  Ghiberti. 

Donatello  was  left  an  orphan  in  early  childhood,  but 
found  a  home,  in  the  real  sense  of  the  word,  in  the  family 
of  the  Florentine,  Euberto  Martelli.  Here  his  frank  and 
cheerful  nature  expanded  in  a  congenial  atmosphere ;  and 
the  estimable  qualities  which  secured  the  affection  of  his 
benefactors  were  the  same  which  endeared  him  to  his 
companions  and  fellow-artists  in  later  life,  and  which 
through  his  works  render  his  name  the  beloved  posses- 
sion of  all  times.  Donatello  —  "  little  Donato  "  —  is  still 
talked  of  in  his  native  Florence  with  affectionate  famil- 
iarity as  if  he  had  lived  but  yesterday,  and  all  the  tradi- 
tions of  his  life  are  kept  fresh  in  the  imagination. 
j  V  He  began  the  labors  of  his  profession  at  a  very  early 
age,  and  through  his  long  life  pursued  them  with  an  un- 
wearied industry.  He  was  much  praised  and  honored, 
but  was  never  turned  aside  from  his  simplicity  of  man- 
ners and  living,  or  from  his  singleness  of  purpose.  At 
Padua  he  executed  numerous  commissions  which  brought 
him  great  fame,  but  in  the  midst  of  all  the  honors  lav- 
ished upon  him  he  declared,  "  If  I  remained  here,  where 
every  one  flatters  me,  I  should  soon  forget  what  I  know ; 
but  in  my  own  country  criticism  will  keep  me  vigilant, 
and  compel  me  to  advance." 

There  is  some  uncertainty  with  regard  to  the  early 
teachers  of  Donatello ;  but  it  is  certain  that  he  was  well 
instructed  in  the  science  of  perspective,  and  that  he  was  a 
diligent  and  appreciative  student  of  antique  models.  Va- 
sari  says :  "  This  master  produced  many  works  in  his 
youth,  but  because  they  were  many,  they  were  not  con- 
sidered to  be  of  any  great  account."  He  executed  both 
sacred  and  secular  subjects  in  bronze,  wood,  and  marble ; 


1386.]  DONATELLO.  75 

small  relief  compositious,  and  large  statues,  both  ideal  and 
portrait,  eviucing  extranrdiuary  love  for  every  branch  of 
his  art,  and  laboring  with  nearly  equal  success  in  each. 
One  of  his  earliest  works,  and  the  one  which  first  made 
his  name  famous,  is  an  Annunciation,  now  in  the  right 
side  aisle  of  Santa  Croce,  in  Florence.  The  angel  is 
bending  upon  one  knee,  and  looking  with  a  gentle  seri- 
ousness upon  Mar}',  who  is  half  turning  away  in  a  timid 
manner,  yet  seeming  to  listen  with  an  air  of  humility  and 
reverence,  as  though  saying,  "  Behold  the  handmaid  of  the 
Lord."  In  delicate  feeling  none  of  the  later  works  of 
Donatello  surpass  this.  For  the  same  church  he  carved  a 
wooden  crucilix,  which,  though  the  product  of  great  labor, 
was  scarcely  worthy  of  the  subject,  and  it  was  severely 
criticised  by  his  friend,  Bruuellesco.  Yasari  is  tlie  au- 
thority for  the  story,  and  it  is  best  told  in  his  own  words. 
"  Allien  the  work  was  completed,  believing  himself  to 
have  produced  an  adndrable  thing,  he  showed  it  to  Filippo 
di  Ser  Brunellesco,  his  most  intimate  friend,  desii'ing 
to  have  his  opinion  of  it.  Filippo,  who  had  expected 
from  the  words  of  Donato,  to  see  a  much  finer  production, 
smiled  somewhat  as  he  regarded  it,  and  Donato,  seeing 
this,  entreated  him  by  the  friendship  existing  between 
them,  to  say  wliat  he  thought  of  it ;  whereupon  Fihppo, 
who  was  exceedingly  frank,  replied  tliat  Donato  appeared 
to  him  to  liave  placed  a  c1o\\ti  on  the  cross,  and  not  a  fig- 
ure resembing  that  of  Jesus  Clirist,  whose  person  Avas 
delicately  Ijeautii'ul,  and  in  all  its  parts  the  mo.st  perfect 
form  of  man  that  hud  ever  been  born.  Donato,  hearing 
himself  censured  where  he  ex]tected  i)raise,  and  more 
hurt  than  he  was  perhaps  willing  to  admit,  replied,  '  If  it 
were  as  easy  to  execute  a  work  as  to  judge  it,  my  figure 
would  apjiear  to  thee  Uj  be  Clirist,  and  not  a  boor;  but 


76  SCULPTORS  OF  THE  RENAISSANCE.  [i386. 

take  wood  and  try  to  make  one  thyself.'  Tilippo,  without 
saying  anything  more,  returned  home,  and  set  to  work  on 
a  crucifix,  wherein  he  labored  to  surpass  Donato,  that  he 
might  not  be  condemned  by  his  own  judgment ;  but  he 
suffered  no  one  to  know  what  he  was  doing.  At  the  end 
of  some  months  the  work  was  completed  to  the  height  of 
perfection,  and  this  done,  Filippo  one  morning  invited 
Donato  to  dine  with  him,  and  the  latter  accepted  the  in- 
vitation. Thereupon,  as  they  were  proceeding  together 
towards  the  house  of  Filippo,  they  passed  by  the  Mercato 
Vecchio,  where  the  latter  purchased  various  articles,  and, 
giving  them  to  Donato,  said,  '  Do  thou  go  forward  with 
these  things  to  the  house  and  wait  for  me  there,  I'll  be 
after  thee  in  a  moment.'  Donato,  therefore,  having  en- 
tered the  house,  had  no  sooner  done  so,  than  he  saw  the 
crucifix,  which  Filippo  had  placed  in  a  suitable  light. 
Stopping  short  to  examine  the  work,  he  found  it  so  per- 
fectly executed,  that,  feeling  himself  conquered,  full  of 
astonishment,  and  as  it  were  startled  out  of  himself, 
he  dropped  the  hands  which  were  holding  up  his  apron 
wherein  he  had  placed  the  purchases,  when  the  whole 
fell  to  the  ground,  eggs,  cheese,  and  other  things,  all 
broken  to  pieces  and  mingled  together.  But  Donato,  not 
recovering  from  his  astonishment,  remained  still  gazing 
in  amazement  and  like  one  out  of  his  wits  when  Filippo 
arrived,  and  inquired,  laughing,  '  What  hast  thou  been 
about,  Donato  ?  and  what  dost  thou  mean  us  to  have  for 
dinner,  since  thou  hast  overturned  everything  ? '  'I, 
for  my  part,'  replied  Donato,  '  have  had  my  share  of 
dinner  for  to-day ;  if  thou  must  needs  have  thine,  take 
it.  But  enough  said  :  to  thee  it  has  been  given  to  repre- 
sent the    Christ ;  to  me,  boors  only.'  " 

Another  early  work  by  this  artist  was  a  figure  of  the 


1386.]  DUXATELLO.  77 

prophet  Daiiiel  iu  iimrble,  executed  for  the  facade  of  the 
cathedral  of  Florence,  but  it  is  not  now  known  where 
the  figure  is,  if  it  still  exists.  He  executed  several  statues 
of  David,  in  which  the  vigor  and  boldness  of  his  early 
style  are  well  shown.  One  in  bronze  is  in  the  Museum  of 
the  Bargello  in  Florence,  a  lifelike  youthful  figure  stand- 
ing with  Ins  left  foot  on  the  head  of  Goliatli,  one  hand 
grasping  a  huge  sword,  the  other  resting  against  his  hip. 
The  helmet  of  Goliath  is  adorned  with  a  beautiful  relief 
representing  a  triumphal  car  drawn  by  children ;  the 
head  of  David  is  shaded  by  a  shepherd's  hat  wound  with 
a  wreath  of  ivy.  In  the  Gallery  of  the  Uffizi  is  a  David 
in  marble,  which  LUbke  calls  "  a  theatrical  caricature." 
The  finest  of  the  statues  of  this  subject  is  the  one  in 
bronze  above  mentioned,  of  which  Vasari  says :  "  The 
animation,  truth  to  nature,  and  softness  manifest  in  this 
figure  make  it  almost  impossible  to  artists  to  believe  that 
it  has  not  been  moulded  on  the  living  form."  Cavalca- 
selle  says  :  "If,  among  the  many  statues  of  David  which 
Douatello  produced,  we  choose  one  which  now  adorns  the 
collection  of  the  Utfizi  [since  placed  iu  the  Bargello],  we 
shall  agree  with  Vasari  that  the  life  and  fleshiness  of  it 
are  admirable  and  the  more  praiseworthy  if  the  diflicul- 
ties  of  bronze  be  considered.  We  shall  contemplate  with 
plea.sure  elastic  motion  rivalling  that  of  a  living  man ; 
and  we  shall  be  justified  iu  adding,  that  no  creation  of 
the  revival,  from  the  fourteenth  century  to  the  time  of 
Michael  Angelo,  is  more  entitled  to  claim  respect  and  ad- 
miration, because  of  the  true  development  of  the  maxims 
and  laws  which  are  condiined  alike  in  it  and  in  Greek 

modeLs An  admirable  unity  marks  the  contours  of 

the  form,  whose  .select  parts  reveal  a  true  feeling  for  the 
beauties  of  Greek  statuary.     Douatello,  in  fact,  disjilays 


78  SCULPTORS  OF  THE  RENAISSANCE.  [i386. 

the  results  of  a  deep  study  of  the  antique,  combining  in 
a  single  work  the  truth  of  nature  with  nobleness  of  shape 
and  mien,  chasteness  of  form  with  breadth  and  ease  of 
modelling.  More  happy  in  his  mood  than  at  other  pe- 
riods of  his  career,  he  seems  to  have  curbed  the  natural 
impetuosity  of  his  temper,  and  to  have  allowed  a  cooler 
judgment  to  restrain  the  natural  fire  that  burned  within 
him.  We  may  regret  that  he  should  not  have  constantly 
obeyed  this  restraint,  and  that  he  should  have  fallen  so 
frequently  into  a  less  noble  realism ;  but  it  is  due  to  him 
to  greet  with  a  just  applause  those  works  in  which  he 
gave  proofs  that  he  possessed  the  highest  gifts  that  can 
grace  a  sculptor.  His  David  has  a  perfect  harmony  of 
power,  of  character,  and  of  parts,  and  had  posterity  been 
deprived  of  all  his  works  except  that,  he  would,  on  the 
strengtli  of  it,  be  called  the  best  sculptor  of  his  country." 
In  the  Via  Calzajuoli,  or  Street  of  the  Hosiers,  in  Flo- 
rence, is  the  famous  church  of  Or  San  Michele.  The 
building  was  constructed  in  1284  by  Arnolfo  del  Cambio, 
for  the  purpose  of  storing  the  reserves  of  grain  laid  up  by 
the  people  and  commune  of  Florence,  and  the  name  Hor- 
reum  Sancti  Michaelis  commemorates  its  original  design. 
Upon  one  of  the  pilasters  of  the  building  an  old  Siennese 
painter,  Ugolino,  painted  a  Madonna,  which  in  time  be- 
came celebrated  as  a  miracle-working  picture.  During 
the  reign  of  the  plague  in  Florence  in  1348,  the  suffering 
people  flocked  to  this  image,  and  the  building  itself  was 
held  in  such  veneration  that  laws  were  passed  prohibit- 
ing any  noise  in  the  vicinity.  A  few  years  later  it  was 
converted  into  a  church,  and  the  costly  shrine  of  Orcagna 
was  erected  over  its  miracle-working  Virgin,  though,  as 
is  now  supposed,  not  the  original  picture  by  Ugolino,  but 
the  work  of  a  later  artist. 


U86.]  DONATELLO.  79 

In  the  external  walls  of  Or  San  ^lichele,  niches  were 
made  for  the  reception  of  statues,  and  in  these  the  princi- 
pal trading  guilds  of  Florence  erected  figures  of  their  pa- 
tron saints  in  marble.  In  a  niche  upon  the  north  front  is 
Donatello's  St.  Peter,  executed  for  the  guild  of  butchers, 
L  Arte  dci  Bcccai.  For  the  flax  merchants,  L'  Arte  del 
Linajaoli,  he  executed  a  figure  of  St.  Mark,  which  occu- 
pies a  niche  upon  the  south  side ;  a  Lifelike,  animated 
figure,  which  Michael  Angelo  is  said  to  have  saluted 
with  the  question,  "  Marco,  why  do  you  not  speak  to 
me  ?"  With  great  judgment  and  knowledge  of  tlie  laws 
of  optics  Donatello  finished  this  statue  with  reference  to 
the  position  it  was  intended  to  occupy,  and  when,  view- 
ing it  upon  the  ground,  the  syndics  of  the  Linajaoli  were 
dissatLstied,  the  sculptor  begged  them  to  allow  it  to  be 
raised  to  its  niche,  when  he  would  change  it  to  a  differ- 
ent figure.  It  was  accordingly  placed  and  covered  for  a 
fortnight,  after  which  it  was  displayed,  a  different  figure 
indeed,  though  untouched. 

But  the  finest  of  all  is  his  figure  of  St.  George,  executed 
for  the  guild  of  armorers,  and  occupying  a  niche  upon  tlie 
south  side  of  the  church.  It  is  an  upright,  youthful  fig- 
ure, clad  in  armor,  and  holding  a  lance-shaped  shield  in 
front  of  him  on  which  the  cross  is  displayed.  The  posi- 
tion is  utterly  quiet,  every  muscle  is  in  repose,  but  no 
work  of  modern  sculpture  exhibits  such  intensity  of  life 
and  power  as  this  kniglitly  figure.  A  loose  drapery  is 
,  thrown  alxjut  the  slioulders  and  knotted  in  front ;  the 
liead  is  bare,  the  face  slightly  lifted  and  looking  into  the 
distance  as  if  expectant,  yet  dreading  nothing.  I'ascarel 
wrote :  — 

"  Under  the  walls  of  Or  San  Michele  I  stood  and  looked 
at  its  St.  George,  where  he  leans  upon  his  shield  so  calm, 


80  SCULPTORS   OP  THE  RENAISSANCE.  [i386. 

so  young,  with  his  bare  head  and  his  quiet  eyes.  '  That  is 
our  Douatello's/  said  a  Florentine  beside  me,  —  a  man  of 
the  people,  who  drove  a  horse  for  hire  in  the  public  ways, 
and  who  paused,  cracking  his  whip,  to  tell  his  tale  to  me. 
'  Donatello  did  that,  and  it  killed  him.  Do  you  not  know  ? 
When  he  had  done  that  St.  George  he  showed  it  to  his 
master,  and  the  master  said,  "  It  wants  one  thing  only." 
Now  this  saying  our  Donatello  took  gravely  to  heart, 
chiefly  of  all  because  his  master  would  never  explain 
where  the  fault  lay ;  and  so  much  did  it  hurt  him  that  he 
fell  ill  of  it,  and  came  nigh  to  death.  Then  he  called  his 
master  to  him.  "  Dear  and  great  one,  do  tell  me  before  I 
die,"  he  said,  "  what  is  the  one  thing  my  statue  lacks." 
The  master  smiled,  and  said,  "Only  —  speech."  "Then  I 
die  happy,"  said  our  Donatello,  and  he  died  —  indeed, 
that  hour.' 

"  iSTow  I  cannot  say  that  the  pretty  story  is  true ;  it  is 
not  in  the  least  true ;  Donatello  died  when  he  was  eighty- 
three,  in  the  Street  of  the  Melon,  and  it  was  he  himself 
who  cried,  '  Speak,  then,  speak  ! '  to  his  statue,  as  it  was 
carried  through  the  city.  But  whether  true  or  false  the 
tale,  this  fact  is  surely  true,  that  it  is  well  —  nobly  and 
purely  well  —  with  a  people,  when  the  men  amongst  it 
who  ply  for  hire  on  its  public  ways  think  caressingly  of  a 
sculptor  dead  five  hundred  years  ago,  and  tell  such  a  tale 
standing  idly  in  the  noonday  sun,  feeling  the  beauty  and 
the  pathos  of  it  all. 

"  '  Our  Donatello '  still  for  the  people  of  Florence,  — 
'  Our  own  little  Donatello  '  still,  as  though  he  were  living 
and  working  in  their  midst  to-day,  here  in  the  shadow 
of  the  Stocking-makers'  Street,  where  his  Saint  George 
keeps  watch  and  ward." 
i     For  the  fa(^,ade  of  the  Campanile  at  Florence  Donatello 


^lAliC  iiUUiiALl^v^i.i<yv>ju, 


1386.J  DONATELLO.  81 

executed  three  marble  statues,  called  saints,  but  really 
lifelike  portrait-figures  of  well-known  personages.  One  of 
these,  the  famous  Zuccone  (Baldpate),  is  one  of  the  mas- 
ter's most  striking  works,  and  was  so  great  a  favorite  with 
him  that  he  was  in  the  habit  of  afHnning,  "  By  the  faith 
that  I  place  in  my  Zuccone."  lie  also  executed  several 
marble  statues  for  the  facade  of  the  cathedra,l,  but  these 
were  afterwards  removed ;  some  have  disappeared,  and 
others  are  now  in  the  interior  of  the  building. 

In  the  interior  of  the  church  of  S.  Croce,  above  the 
western  entrance,  is  his  statue  of  St.  Louis  of  Toulouse, 
not  an  attractive  work,  for  the  sculptor  intentionally  rep- 
resented the  saint  as  stupid  and  awkward,  because  it  was 
"  foolish  of  him  to  give  up  the  reins  of  government  and 
become  a  monk."  Still  more  disagreeable,  perhaps,  is  an 
emaciated  figure  of  the  Magdalen,  carved  in  wood,  in  tlie 
Baptistery  of  Florence ;  and  a  gaunt  St.  John  in  the 
chapel  of  that  saint  in  the  cathedral  of  Sienna.  An  excel- 
lent example  of  Donatello's  treatment  of  portrait  sculp- 
ture is  his  monument  of  the  deposed  Pope,  John  XXIII., 
in  the  Baptistery  of  Florence. 

His  bronze  Judith  and  Holofernes  in  the  Loggia  de' 
Lauzi  was  executed  fur  Cosimo  de'  Medici,  and  remained 
in  the  palace  of  the  Medici  untd  their  expulsion,  when  it 
was  placed  in  front  of  the  ])alace  of  the  Signoria.  It  was 
})laced  in  its  present  position  in  15G0. 

The  most  iinpDrtant  of  all  his  works  in  bronze  is  the 
(■questrian  statue  of  Erasmo  di  Narni,  called  Gattamelata, 
leader  of  the  Venetian  troops,  erected  in  front  of  the 
church  of  8.  Antoni<j  in  Padua,  l)y  the  Signoria  of  Ven- 
ice This  immense  work  was  finished  by  Donatello  with 
great  success,  and  U)  the  great  admiration  of  the  Paduans, 
who  sought  Ijy  every  means  to  retain  so  talented  a  sculp- 

6 


82  SCULPTORS  OF  THE  RENAISSANCE.  [i386. 

tor ;  and  it  is  still  regarded  with  fresh  admiration  as  a 
masterpiece  of  the  Eenaissance  art.  Schorn  criticises  the 
figure  of  the  rider  as  being  too  small  in  relation  to  that  of 
the  horse ;  and  Masselli  observes  that  the  horse  moves 
by  lifting  two  feet  upon  the  same  side  at  a  time  ;  but 
goes  on  to  remark  that  the  same  thing  is  true  of  numerous 
horses,  antiq[ue  as  well  as  modern,  not  excepting  the  work 
of  Phidias  upon  the  Parthenon.  Liibke  says  :  "  For  the 
first  time  since  the  period  of  the  Eomans  we  here  find 
an  equestrian  statue  executed  in  a  monumental  spirit,  and 
in  colossal  proportions.  Even  in  this  respect  the  work 
possesses  an  historical  importance  as  the  first  of  all  sub- 
sequent monuments  of  the  kind.  But  the  vehement  life, 
the  energetic  bearing  of  the  rider,  and  the  heavy  step  of 
the  battle-horse,  which  is  too  massive  compared  with  the 
horseman,  and  claims  too  much  of  the  attention,  —  these 
are  excellences  which  impart  a  value  of  their  own  to 
this  production."  Eeferring  to  this  work  as  an  exam- 
ple of  Donatello's  study  of  animal  nature,  Cavalcaselle 
says  :  "  The  statue  of  Gattamelata  at  Padua,  not  merely 
displays  the  master's  power  in  limning  the  human  form, 
but  reveals  his  ability  in  rendering  that  of  the  horse. 
Donatello,  in  fact,  shares  with  Verrocchio  the  honor  of 
having,  in  equestrian  statues,  made  a  nearer  approach  to 
the  antique  than  any  Italian  sculptor  of  subsequent  or 
previous  times."  In  words  the  best  idea  of  this  work 
is  conveyed  by  M.  Taine's  forcible  description  :  "  In  his 
cuirass,  with  his  head  bare  and  his  baton  of  command  in 
his  hand,  he  sits  firmly  on  a  stout-limbed  charger,  a  vig- 
orous animal,  for  use  and  for  war,  and  not  for  show  ;  his 
bust  is  full  and  square;  his  great  two-handed  sword 
hangs  below  his  horse's  belly ;  his  long  spurs  with  big 
rowels  can  bury  themselves  deep  in  the  flesh  when  a  per- 


1386.]  DONATELLO.  83 

ilous  leap  is  to  be  made  over  a  fosse,  or  to  surmount  a 
palisade  ;  he  is  a  rude  warrior  ;  and  as  he  sits  there  in  his 
harness  you  see  that,  like  Sforza,  his  advei"sary,  he  has 
passed  his  life  in  the  saddle.  Here,  as  at  Florence,  Dona- 
tello  dares  to  risk  the  entire  truth,  the  crude  details  that 
seem  ungracious  to  the  vulgar,  the  faithful  imitation  of 
the  actual  person,  with  his  own  features  and  professional 
traits ;  the  result  of  which  is,  here  as  in  Florence,  a  frag- 
ment of  liWng  humanity,  snatched  breathing  out  of  his 
century,  and  prolonging,  through  its  originality  and  ener- 
gy, the  life  of  that  century  down  to  our  own." 

As  an  artist  Donatello  was  greatly  esteemed  by  Cosimo 
de'  ^ledici,  who  kept  liim  much  employed,  and  to  whom 
the  sculptor  was  bound  by  the  strongest  affection,  com- 
prehending the  wishes  of  his  patron  upon  the  slightest  in- 
timation, and  fulfilling  them  with  a  loyal  obedience.  To 
his  l3enefactors,  the  family  of  tlie  Martelli,  he  showed  a 
constant  love  and  devotion,  and  various  sculptures  by  his 
hand  were  presented  to  them  and  preserved  in  the  family 
as  if  he  were  really  a  son  and  brother.  Among  these  was 
a  figure  of  St.  John,  concerning  which  a  deed  of  trust  was 
executed  to  the  effect  that  it  should  never  be  sold,  pledged, 
or  given  away,  but  remain  in  the  family  as  a  testimony  of 
their  love  to  Donatello,  and  his  grateful  regard  to  them. 
A  beautiful  statue  of  St.  John  Baptist  is  still  preserved 
in  the  Palazzo  Martelli  in  the  Via  Martelli  in  Florence. 

Although  so  friendly  and  overllowing  with  kindly  im- 
jiulses,  Donatello  was  yet  proud  and  uncompromising  in 
all  tliat  pertained  to  his  art.  On  one  occasion  he  had  re- 
ceived, throu^'h  the  infhience  of  Duke  Cosimo,  a  commis- 
sion Irom  a  Genoese  merchant  for  the  execution  of  a  life- 
sized  bust.  The  work  was  finished  in  the  sculptor's  most 
iKiautiful   manner ;  but  when   the  merchant  came  to  pay 


84  SCULPTORS  OF  THE  RENAISSANCE.  [im 

for  it,  he  was  dissatisfied  with  the  pi'ice  demanded.  The 
matter  was  referred  to  Cosimo,  who,  to  exhibit  its  excel- 
lence, caused  the  bust  to  be  placed  in  a  most  favorable 
place  in  the  palace  front,  assuring  the  merchant  that  the 
price  which  he  considered  sufficient  was  indeed  too  little ; 
to  this  the  reply  was,  that  Donatello  could  have  made  the 
bust  in  a  month  or  something  over,  "  thus  gaining  more 
than  half  a  florin  a  day."  On  hearing  this,  Donatello 
turned  in  anger,  and,  with  a  scornful  remark  to  the  mer- 
chant, gave  the  bust  a  blow,  which  threw  it  to  the  street 
below,  and  dashed  it  to  pieces. 

Donatello  was  asked  to  make  the  statue  of  St.  Philip, 
patron  saint  of  the  Hosiers,  erected  in  one  of  the  niches 
of  Or  San  Michele  by  L'Arte  dclle  Calze,  but  the  price 
asked  for  the  work  was  considered  exorbitant  by  the 
guild,  who  afterwards  commissioned  his  pupil  Nanni  di 
Banco  to  execute  it.  Confiding  in  the  judgment  and 
honesty  of  the  master,  they  consulted  him  in  regard  to  a 
proper  compensation  for  the  work,  when  to  their  surprise 
he  named  a  sum  exceeding  the  one  he  had  asked  for  him- 
self, giving  as  a  reason  that  Nanni  was  less  experienced, 
and  would  thus  be  obliged  to  give  more  time  to  it. 

One  of  the  branches  of  art  in  which  Donatello  was 
most  fertile  was  that  of  relief  sculpture.  In  the  difficult 
task  of  modelling  in  low  relief,  he  perhaps  surpasses  all 
other  artists  of  Italy;  his  bronze  reliefs,  so  delicately 
wrought,  so  graceful  and  natural,  reveal  the  exuberance 
of  his  fancy,  his  nice  observance  of  nature,  and  his  patient 
study  of  the  classic  style.  Though  it  may  be  justly 
charged  that  his  draperies  were  sometimes  over-labored, 
he  never  created  a  figure  simply  to  hang  draperies  upon, 
—  the  spectator  is  always  conscious  that  a  vital  hu- 
man body  animates  and  regulates  the  flow  of  every  line, 


I 


1386.]  DONATELLO.  85 

Among  bis  finest  relief  sculptures  are  the  adornments  of 
the  old  Sacristy  of  S.  Lorenzo.  It  was  built  by  Cosimo 
de'  Medici,  and  conti\ins  his  tomb,  also  the  work  of  Dona- 
tello.  The  reliefs  in  stucco  upon  the  walls  and  peu- 
dentives,  representing  sacred  and  legendary  scenes,  are 
simple  and  beautiful,  and  the  figures  of  saints  and  evan- 
gelists in  medallions  and  above  the  doors  are  lifelike 
and  niible.  He  also  executed  the  two  bronze  gates  of  the 
old  Sacristy.  The  bronze  reliefs  of  the  pulpits  of  S.  Ix)- 
renzo  are  among  tlie  last  works  executed  by  the  master, 
and  were  completed  by  his  pupil  Dertoldo  after  his  death. 
These  represent  scenes  from  the  Passion,  and  are  among 
Donatello's  most  expressive  delineations.  He  also  exe- 
cuted various  reliefs  in  the  choir  of  S.  Antonio  in  I'adua  ; 
upon  the  high  altar,  scenes  from  the  life  of  St.  Anthony, 
and  in  the  choir  gallery,  an  Entombment.  The  bronze 
gates  of  the  Chapel  of  the  Sacrament  are  Tjeautiful  ex- 
am] )les  of  his  work. 

In  the  cathedral  of  Prato,  at  the  left  of  the  entrance,  is 
the  Cappella  della  Sacra  Cintola,  in  which  is  preserved 
the  legendary  girdle  of  the  Virgin.  According  to  the  tra- 
dition tlie  girdle  was  given  by  St.  Thomas  to  one  of  his 
disciples  when  he  was  about  setting  out  as  a  missionary 
to  the  East.  A  thousand  years  after,  the  relic  Mas  be- 
.stowed  upon  the  daughter  of  a  Greek  priest  at  Jerusalem, 
—  in  who.se  family  it  had  been  i)rcserved,  —  as  a  dowry, 
upon  her  marriage  with  ]\Iichele  dei  Dagomari,  of  Prato, 
who  had  joined  the  crusade  of  1096,  and  who,  at  his 
death,  bc'([ueathed  the  girdle  to  P>ishop  Uberto.  In  1428 
the  wardens  of  the  sacred  rtdic  commissioned  Donatello 
to  execute  an  external  jiulpit,  from  which  it  should  be 
[jcriodically  exhibited  to  the  people  ;  and  the  work  was 
completed  about  14:'.4.     The  ]iulpit,  which  projects  from 


86  SCULPTORS  OP  THE  RENAISSANCE.  [138& 

one  corner  of  the  west  front  of  the  cathedral,  is  of  marble, 
divided  into  seven  panels,  upon  which  are  beautifully 
sculptured  dancing  children.  The  art  with  which  the 
sculptor  has  carved  these  groups,  producing  the  most  dis- 
tinct effects,  while  executing  even  the  high  reliefs  in  a 
manner  to  protect  them  from  injury,  is  deserving  of  great 
praise. 

Donatello  rarely  succeeded  in  the  expression  of  deep 
religious  feeling.  With  the  asceticism  portrayed  by  many 
of  the  artists  of  the  time  he  had  no  sympathy,  and  he 
never  affected  any.  The  nearest  approach  to  anything 
like  a  tender  and  reverent  feeling  in  his  sacred  subjects  is, 
perhaps,  to  be  found  in  his  Annunciation,  and  yet  this  is 
characterized  by  more  of  timidity  and  naiveU  than  real 
religious  feeling.  His  scenes  from  the  Passion,  upon  the 
pulpit  of  S.  Lorenzo,  express  deep  and  agitated  feeling, 
but  it  is  the  natural  outburst  of  human  emotion,  unmixed 
with  any  sentiment  of  religion.  In  the  scene  of  the  De- 
position every  degree  of  horror,  pity,  amazement,  and 
solicitude  finds  place,  and  nothing  could  be  more  real  as 
an  expression  of  profound  human  sympathy.  Most  of 
Donatello's  subjects,  however,  are  religious ;  and  certainly, 
from  their  treatment  we  cannot  consider  him  entitled 
to  the  name  sometimes  given  him,  of  a  Pagan  in  art,  if 
he  falls  short  of  what  is  claimed  by  others  in  regard  to 
the  high  religious  character  of  his  works.  Always  hum- 
ble, simple,  honest,  and  charitable  himself,  his  creations 
are  not  wanting  in  all  kindly,  practical  human  virtues. 

Though  praised  and  petted  by  the  rich  and  the  noble, 
Donatello  manifested  no  ambition  for  luxury  or  display, 
or  the  accumulation  of  wealth.  It  is  said  that  he  kept 
his  money  in  a  basket  in  his  atelier,  where  friends  and  de- 
pendents were  in  the  habit  of  helping  themselves.     Cosimo 


1386.]  DONATELLO.  87 

de'  Medici  once  sent  him  a  mantle  and  cap,  that  his  fa- 
vorite scidptor  might  appear  more  suitably  dressed ;  but 
after  wearing  them  once  or  twice,  he  returned  them  to 
the  donor,  saying  they  were  too  dainty  for  him.  At 
Cosimo's  death  he  commended  Donatello,  who  was  then 
an  old  man,  to  the  care  of  his  son  Piero,  who  bestowed 
upon  him  a  farm,  thus  securing  him  against  the  possibil- 
ity of  want.  At  first  the  aged  sculptor  rejoiced  in  this 
gift ;  but  after  holding  it  for  a  short  time  he  restored  it  to 
Piero,  declaring  that  he  would  rather  starve  than  be  pes- 
tered as  he  was  with  the  continual  outcries  of  the  farmers 
that  one  thing  or  another  was  out  of  order.  Piero  kindly 
relieved  him  of  his  troublesome  possessions,  and,  to  his 
great  satisfaction,  assigned  him  an  income  which  placed 
him  above  both  want  and  care  for  the  remainder  of  his 
life. 

Donate  died  in  14G8,  and,  according  to  his  request, 
was  buried  in  the  church  of  S.  Lorenzo,  near  the  tomb  of 
his  beloved  patron,  Cosimo  de'  Medici.  Vasari  tells  us 
that  his  obsequies  were  most  honorably  performed,  and 
he  was  followed  to  the  tomb,  not  only  by  all  the  painters, 
architects,  sculptors,  and  goldsmiths,  but  by  nearly  all 
the  inhabitants  of  the  city ;  and  that  it  was  not  until  "  a 
long  time  after  that  tliey  ceased  to  compose  verses  in  his 
honor  in  different  languages,  and  of  various  kinds." 

Borghini,  tlie  learned  Italian  antiquary,  made  a  large 
collection  of  the  drawings  of  distinguished  painters  and 
sculptors,  and  upon  two  representative  drawings,  one  by 
iJonatello,  the  other  by  Michael  Angelo,  placed  opposite 
each  other,  he  iiLscribed  :  "  Either  the  spirit  of  Donato 
worked  in  Buonarotti,  or  that  of  Buonarotti  first  acted  in 
Donato." 


88  SCULPTORS  OE  THE  RENAISSANCE.  [i386. 


MICHELOZZO    MICHELOZZI. 

MICHELOZZO  MICHELOZZI,  called  also  Miche- 
Lozzo  Di  Baktolommeo  di  Gheeakdo,  and  Miche- 
Lozzo  DI  BoRGOGNONE,  and  again  simply  Michele,  was  a 
Florentine  sculptor  and  architect,  probably  born  in  1386. 
He  was  the  pupil  and  assistant  of  Donatello.  In  his 
youth  he  received  instruction  from  Lorenzo  Ghiberti,  and 
assisted  him  in  the  execution  of  one  of  the  statues  for  Or 
San  Michele.  He  appears  to  have  followed  Donatello's 
style,  though  he  manifested  less  independent  power  than 
his  master.  In  architecture  he  chiefly  distinguished  him- 
self, designing  a  number  of  important  edifices,  both  public 
and  private.  He  was  patronized  by  Cosimo  de'  Medici,  to 
whom  he  was  so  strongly  attached  that  he  voluntarily 
shared  his  exile  in  1433,  following  him  to  Venice,  and 
remaining  until  his  patron  returned  to  Florence.  In  the 
mean  time  he  was  occupied  with  designs  for  various  build- 
ings in  Venice.  In  Florence  he  erected  the  palace  now 
called  Eiccardi,  for  Cosimo  de'  Medici,  commenced  in  1430. 
It  is  a  fine  example  of  the  older  Florentine  style,  grand 
and  simple.  "  It  possesses  a  splendid  facade  three  hun- 
dred feet  in  length  by  ninety  in  height.  The  lower  story, 
which  is  considerably  higher  than  the  other  two,  is  also 
bolder,  and  pierced  with  only  a  few  openings,  and  these 
spaced  unsymmetrically,  as  if  in  proud  contempt  of  those 
structural  exigencies  which  must  govern  all  frailer  con- 
structions." *  The  lower  story  is  of  huge  stones,  roughly 
hewn,  while  the  decorations  of  the  upper  part  are  very 
elaborate  and  rich. 

After  the  death  of  Cosimo,  Piero  de'  Medici  commis- 

*  Feigusson. 


1386.]  MICHELOZZO  MICIIELOZZI.  89 

sioned  Michelozzo  to  coustruct  and  adorn  the  chapel  (in 
front  of  the  choir)  in  S.  Miuiato  al  Monte,  in  which  to 
enshrine  the  miraculous  crucitix  of  S.  Giovanni  Gualberto, 
afterwards  removed  to  S.  Trinita.  The  sculptures  in  relief 
in  this  cliapel  are  very  beautifid. 

His  last  work  was  the  design  for  the  chapel  of  the  An- 
nunziata  in  the  church  of  the  Servi  in  Florence,  erected 
to  the  memory  of  Cosimo  de'  Medici,  by  his  son  Piero. 

He  died  in  the  sixty-eighth  year  of  his  age,  according 
to  Vasari's  account,  and  was  buried  in  the  church  of  S. 
Marco.  In  the  Academy  of  Art  in  Florence  is  a  portrait 
of  Michelozzo,  by  Fra  Angelico,  —  one  of  the  figures  in  the 
Deposition  from  the  Cross,  j^ainted  for  Santa  Trinity. 

Vasari  thus  moralizes  on  the  life  of  this  artist :  "  If  all 
who  inhabit  this  world  would  consider  that  they  may 
have  to  live  when  they  can  no  longer  work,  there  would 
not  be  so  many  who  are  reduced  to  beg  that  in  their  old 
age  which  they  have  squandered  without  any  kind  of  re- 
straint in  their  youth,  when  their  large  and  liberal  gains, 
blinding  their  judgment,  have  tempted  them  to  spend  be- 
yond what  was  needful,  and  much  more  than  was  right 
and  suitable.  Wherefore,  since  he  who  has  fallen  from 
possessing  much  to  having  little  or  nothing  is  often 
looked  upon  but  coldly,  each  should  endeavor,  but  in  all 
rectitude,  and  preserving  the  medium,  to  prepare  in  such 
sort  tliat  he  shall  not  have  to  beg  in  his  old  age.  Thus, 
he  who  will  do  as  Michelozzo  did  (who  would  not  imitate 
his  master,  Donatello,  in  this  respect,  although  he  did  so 
in  his  art)  will  live  honoral)ly  all  the  days  of  his  life,  and 
will  not  be  coinitelled  in  his  last  years  to  go  about  miser- 
ably seeking  the  means  of  existence." 

According  to  Florentine  liistory,  the  son  and  gi-andson 
of  Michelozzo  occupied  ftositions  of  trust  and  honor. 


90  SCULPTORS  OF  THE  RENAISSANCE.  [woo. 


LUCA    DELLA    ROBBIA. 

LUCA  DELLA  EOBBIA,  a  Florentine  sculptor,  was 
born  in  1400.  When  very  young  he  was  placed 
with  a  goldsmith,  with  whom  he  learned  drawing  and 
modelling ;  when  later  he  began  to  work  in  bronze  and 
marble,  he  seems  to  -have  found  the  true  field  for  his 
genius,  though  liis  works  in  terra-cotta  are  so  superior. 
He  has  been  called  the  inventor  of  the  art  of  euamellina ; 
but  as  the  process  was  known  even  to  the  Egyptians,  and 
familiar  to  the  Greeks  and  Eomans,  this  artist  can  only 
be  regarded  as  the  first  who  adapted  it  to  sculpture.  The 
process  of  covering  reliefs  in  burnt  clay  with  a  colored 
glazing  was  by  Luca  and  his  pupils  carried  to  great 
perfection.  From  the  great  durability  of  these  glazed 
surfaces,  the  works  of  this  school  are  in  excellent  pres- 
ervation. 

Among  his  early  works  are  reliefs  upon  the  north  side 
of  the  Campanile  at  Florence.  They  consist  of  symboli- 
cal representations  of  grammar,  philosophy,  music,  geom- 
etry, and  astrology.  For  the  cathedral  he  executed  in 
connection  with  Donatello  the  marble  frieze  for  the  organ 
gallery,  a  portion  of  which  may  now  be  seen  in  the  Uf- 
fizi.  These  reliefs  are  charming  in  their  freshness  and 
childlike  naivete.  The  singing  boys  in  their  energy 
and  hearty  fervor  present  such  a  picture  of  youthful  life 
and  joyousness  as  is  indescribable.  Full  of  animation  in 
face  and  attitude,  and  expressing  a  variety  of  gesture  and 
movement,  all  is  yet  graceful  and  harmonious. 

He  executed  the  bronze  door  for  the  old  sacristy  of  the 
cathedral,  assisted  in  the  early  part  of  the  work  by  other 
artists  :  and  above  the  two  doors  of  the  sacristy  he  exe- 


1400.]  LUC  A  DELL  A  RUBBL\.  91 

cuteJ  in  glazed  clay  reliefs  of  the  liesuiTection  and  the 
Ascension.  In  S.  Apostoli  in  Florence  is  an  altar  in 
tennx-cotta,  which  is  one  of  his  most  beautiful  works.  In 
the  Museum  of  the  P)argello  is  a  whole  collection  of  the 
works  of  Luca  and  his  followei-s.  In  the  Louvre  are  a 
number  of  reliefs  attributed  to  this  artist ;  and,  indeed, 
most  of  the  large  European  collections  possess  examples 
of  the  terra-cotta  work  of  his  school. 

Luca's  sculptures  are  marked  by  great  simplicity  of 
character,  and  a  true  religious  feeling.  His  favorite  sub- 
jects were  evidently  those  of  a  calm  and  devout  charac- 
ter, as  the  Madonna  and  Child,  saints,  and  angels.  In 
subjects  demanding  a  more  dramatic  style  he  exhibited 
less  skill. 

He  died  in  1481. 

The  sons  of  Luca,  and  his  nephew,  were  followers  of  his 
style,  and  took  part  in  some  of  his  works.  Later,  some  of 
these  artists  produced  independent  works  of  great  excel- 
lence. One  of  the  sons,  Luca,  excelled  in  the  production 
of  glazed  terra-cotta  for  pavements  ;  and  Jthe  floors  of  the 
Raphael  Loggie  of  the  Vatican  were  his  work. 

-^ATENOrJIAL  SCHOOL. 

GIOVANNI   ANTONib    AMADEO.  "  ■ 

/^  lOVANNl  ANTONIO  AMADEO.or  Omkdko,  was 
V_X  l,orn  at  Pavia  about  1400.  He  is  one  of  the  most 
important  sculptors  of  Upper  Italy.  It  is  probable  that 
he  was  one  of  tlie  group  of  talented  artists  employed 
upon  the  decorations  of  the  Certosa  of  Tavia. 

His  principal  works  are  the  monuments  of  the  Venetian 
General,  liartolommeo  CoUeoni,   in  the  Colleoni  Chapel 


92  SCULPTORS  OF  THE  RENAISSANCE.  [1400. 

at  Bergano,  and  that  of  Medea  Colleoni,  only  cHld  of  the 
commander,  erected  in  the  church  of  Basella,  on  the 
Serio,  but  now  in  the  same  chapel.  The  Colleoni  chapel 
adjoins  the  church  of  S.  Maria  Maggiore,  and  is  one  of 
the  most  magnificent  works  of  Upper  Italy.  The  fagade 
is  of  red  and  white  marble,  and  around  the  windows 
are  beautifully  sculptured  reliefs,  probably  by  Araadeo. 
They  represent  the  creation  of  Adam  and  Eve,  the  Fall, 
and  the  expulsion  from  Eden,  the  death  of  Abel,  and  the 
sacrifice  of  Abraham.  Upon  the  framework  of  the  por- 
tal are  also  ornamental  reliefs.  Opposite  the  entrance  to 
the  chapel  is  the  grand  monument  of  Colleoni,  lavishly 
adorned  with  sculptures.  It  consists  of  two  sarcophagi. 
The  lower  and  larger  one  rests  upon  fluted  pillars  sup- 
ported by  lions,  and  is  encircled  with  a  beautiful  frieze 
consisting  of  small  nude  figures  engaged  in  various 
games,  and  supporting  medallions  with  coats  of  arms 
and  heads  of  emperors.  Above  this  frieze  are  reliefs 
of  the  Annunciation,  the  Nativity,  and  the  Adoration  of 
the  Magi.  Upon  the  upper  sarcophagus  are  represent- 
ed in  relief  the  Bearing  of  the  Cross,  the  Crucifixion, 
the  Deposition  from  the  Cross,  and  the  Eesurrection,  — 
the  latter  scene  supposed  to  be  the  work  of  some  other 
sculptor.  Upon  this  sarcophagus  is  a  life-size  equestrian 
statue  of  the  deceased,  of  gilt  wood,  accompanied  by 
marble  statues  of  the  Virtues ;  above  is  a  baldachin 
supported  by  two  slender  columns. 

The  monument  of  Colleoni's  daughter  Medea  is  afiixed 
to  the  left  side  wall  of  the  chapel,  in  a  niche  enclosed  by 
pilasters.  The  sarcophagus  rests  upon  three  winged 
angels'  heads ;  upon  the  central  compartment  is  repre- 
sented the  dead  Christ  worshipped  by  angels.  The 
figure  of  the  deceased  rests  in  quiet  attitude  upon  the 


1400.]  GIOVANNI   ANTONIO   AMADEO.  93 

sarcophagus,  clothed  in  a  loug,  Howiug  rube  of  brocade  ; 
the  expression  of  the  face  is  calm  and  serene.  Above  is 
a  fine  relief  of  the  Madonna  and  Child,  with  saints.  In 
its  unobtrusive  elegance  and  charm  of  execution  this 
monument  is  scarcely  suri)assed  by  any  work  of  its  kind. 
It  is  not  certain  that  all  tlie  details  of  these  two  monu- 
ments are  by  the  hand  of  xVmadeo,  but  the  portions  which 
are  well  authenticated,  together  with  his  other  remaining 
works,  are  sufficient  to  prove  him  to  have  been  one  of 
the  most  able  artists  of  liis  time.     He  died  in  1474. 


MINO    DA   FIESOLE. 

^ /riXO  DA  FIESOLE,  or  Mixo  di  Giovanni,  was 
-i-^  J-  born  in  Fiesole  in  1400.  He  was  a  pupil  of  De- 
siderio  da  Settignano,  and  appears  to  have  followed  the 
style  of  his  master,  and,  like  other  sculptors  of  his  time, 
exhibits  the  influence  of  Donatello.  He  was  earnestly 
devoted  to  sculpture,  and  acquired  great  skill,  particularly 
in  the  decorative  part  of  the  art.  He  executed  various 
works  of  importance  in  Florence,  and  later  went  to  IJome, 
where  he  labored  in  the  style  of  the  Florentine  lieuais- 
sance. 

One  of  the  finest  of  all  the  works  of  this  sculptor  is  in 
the  church  of  the  l>adia  at  Florence,  —  the  monument  of 
Bernardo  Giugni,  who  had  filled  the  office  of  Gonfaliere 
Giustizia,  with  great  honor.  The  statue  of  the  deceased 
\i\)on  tlie  sarcophagus  is  a  ])ortrait ;  behind  is  a  figure  of 
Ju-stice,  holding  a  swonl  and  li;ilance.  In  the  Museum 
of  the  Bargello  are  three  jtortraits  in  low  relief  attributed 
toMino;  they  represent  Frederick,  Duke  of  Urbino,  Bat- 
tiste  Sforza,  and  Galeazzo  Sforza. 


94  SCULPTORS  OF  THE  RENAISSANCE.  [iioo. 

In  the  cathedral  at  Fiesole  is  the  monument  of  Bishop 
Lionardo  Salutati,  the  friend  of  Pope  Eugenius  IV.,  and 
also  a  beautiful  bas-relief  representing  the  Madonna  with 
St.  Eemigius  and  St.  Leonhard,  by  Mino.  "  The  bust  of 
Bishop  Salutati  is  certainly  one  of  the  most  living  and 
strongly  characterized  '  counterfeit  presentments  '  of  na- 
ture ever  produced  in  marble.  Any  one  who  has  looked 
at  those  piercing  eyes,  strongly  marked  features,  and  that 
mouth,  with  its  combined  bitterness  and  sweetness  of  ex- 
pression, knows  that  the  Bishop  was  a  man  of  nervous 
temperament,  a  dry  logical  reasoner,  who,  though  some- 
times sharp  in  his  words,  was  always  kindly  in  his  deeds. 
From  the  top  of  his  jewelled  mitre  to  the  rich  robe  upon 
his  shoulders,  this  bust  is  finished  like  a  gem.  It  stands 
below  a  sarcophagus,  resting  upon  ornate  consoles,  upon 
an  architrave  supported  by  pilasters,  and  adorned  with 
arabesques.  In  design  this  tomb  is  perfectly  novel,  and, 
as  far  as  we  know,  has  never  been  repeated,  despite  its 
beauty  and  fitness."  *  Opposite  is  the  altar-piece  with 
the  above-mentioned  bas-relief. 

Among  his  works  in  Eome  is  the  fine  monument  of 
Francesco  Tornabuoni,  in  S.  Maria  sopra  Minerva.  He 
also  executed  the  monument  of  Pope  Paul  II.,  the  re- 
mains of  which  are  now  in  the  crypt  of  St.  Peter's. 

In  the  cathedral  of  Prato  is  a  circular  marble  pulpit, 
sculptured  by  this  artist  in  connection  with  Antonio  Eos- 
sellino,  which  is  remarkable  for  its  elegant  foliage  and 
other  ornamentation  ;  the  figures  are  of  less  excellence. 

For  the  cathedral  at  Volterra,  Mino  executed  a  beauti- 
ful ciborium,  with  two  angels,  standing  one  on  either  side. 
The  ciborium  is  now  in  the  Baptistery.     This  artist  died 
in  1486,  and  was  buried  in  his  native  Fiesole. 
*  C.  C.  Perkins. 


14...]  DESIDERIO   DA   SEl^IGNAXO. 


DESIDERIO    DA    SETTIGNANO. 

DESIDEFvlO  DA  SETTKIXAXO  was  probably  born 
iu  the  early  part  of  the  litteeuth  century.  His 
name  implies  that  he  was  a  native  of  Settignano,  but 
some  authorities  call  him  a  Florentine.  He  appears  to 
be  a  follower  of  Donatello,  but  is  remarkable  for  a  mure 
soft  and  graceful  style.  He  executed  various  admired 
works,  many  of  which  are  still  in  existence;  the  most  im- 
portant is  the  monument  of  Carlo  ]\Iarsuppini,  secretary 
of  Pope  Eugenius  IV.,  in  S.  Croce,  in  Florence.  The  de- 
sign of  this  work  is  attractive,  and  the  detads  are  of 
extraordinary  beauty.  The  recumbent  statue  of  the  de- 
ceased, which  is  a  portrait,  rests  upon  a  sarcophagus, 
which  is  ornamented  with  sculptured  foliage.  At  the 
head  and  feet  are  two  genii  bearing  the  insignia.  Above 
is  a  medallion  relief  of  the  Madonna  and  Child,  with 
angels  on  either  side. 

In  the  Palazzo  Strozzi  is  a  i)ortrait  bust  of  ]\Iariotta  di 
Palla  degli  Strozzi.  Mr.  Symonds  said  of  this :  "  Xone 
but  men  courteous  and  unaffected  could  have  carved  a 
face  like  that  of  Marietta  Strozzi,  breathing  the  very  spirit 
of  urbanity." 

For  the  Chapel  of  the  Sacrament  in  S.  Lorenzo  at 
Florence,  Desiderio  executed  the  marble  decorations, 
among  them  the  figure  of  the  Child  Chri.st,  in  full  relief. 
These  were  removed  to  another  ])art  of  the  church  some 
time  later,  but  the  figure  of  the  Holy  Child  has  now  been 
rt^stored  to  its  original  place.  This  was  the" Gesu  Bam- 
bino "  which  was  carried  through  the  streets  by  a  conij)any 
of  children,  wlio,  under  the  direction  of  Savonarola,  called 
fur  every  work  of  art  of  an  immoral  tendency,  that  it 
might  be  destroyed. 


96  SCULPTORS  OF  THE  RENAISSANCE.  [14... 

In  the  cliurch  of  tlie  Badia,  at  Fiesole,  is  a  relief  attrib- 
uted to  Desiderio. 

Vasari  says  of  this  sculptor :  "  The  thread  of  his  life 
was  cut  short  at  the  age  of  twenty-eight,  to  the  deep 
grief  of  all  those  who  had  hoped  to  behold  the  perfection 
to  which  such  a  genius  would  have  attained  in  its  matu- 
rity, and  who  were  more  than  dismayed  by  so  great  a  loss. 
He  was  followed  by  his  relations  and  numerous  friends 
to  the  church  of  the  Servites."  It  is  believed,  however, 
that  Desiderio  lived  to  a  more  advanced  age  than  is  as- 
signed him  by  this  biographer. 

By  Giovanni  Santi  this  sculptor  was  called  "  II  bravo 
Desider,  si  dolce  e  bello." 


ANTONIO    ROSSELLINO. 

ANTONIO  EOSSELLINO,  a  Florentine  sculptor  of 
note,  was  born  in  1427.  His  family  name  was 
Gamberelli.  He  worked  chiefly  in  marble,  and  for  this 
reason  probably  his  works  display  a  more  agreeable  soft- 
ness of  outline  than  those  of  his  contemporaries  who 
worked  in  gold  and  bronze.  Vasari  eulogizes  this  artist 
as  one  "  who  pursued  his  calling  with  such  devotion  and 
so  much  grace  that  he  was  esteemed  something  more  than 
a  man  by  all  who  knew  him,  and  was  venerated  almost 
as  a  saint  for  the  admirable  virtues  which  he  added  to 
his  knowledge  of  art." 

Eossellino  executed  several  sepulchral  monuments, 
which  are  remarkable  for  tasteful  composition  and  ar- 
rangement, and  whicli  show  also  that  he  was  master  of 
the  technical  part  of  his  art.     One  of  these  —  perhaps  the 


1427.]  ANTONIO  ROSSELLINO.  97 

finest  of  all  his  works  —  is  the  monument  of  the  Cardinal 
of  Portugal,  in  tlie  church  of  S.  Miniato,  in  the  neighbor- 
hood of  Florence,  executed  about  1459.  Upon  the  sar- 
cophagus lies  the  figure  of  the  deceased,  in  which  the 
tranquillity  of  death  is  truthfully  expressed  ;  at  the  head 
and  foot  are  figures  of  cliildren  of  infantile  grace  and 
beauty,  and  above,  two  angels  are  bearing  a  crown.  In 
the  arched  top  is  a  medallion  borne  by  angels,  in  which 
is  a  lovely  Madonna  and  Child.  The  whole  is  very 
richly  and  chastely  decorated  ;  the  variety  of  emblems 
and  ornaments  forms  a  fascinating  study,  and  the  eye  fol- 
lows its  details  again  and  again  without  wearying.  The 
chapel  (S.  Giacomo)  wliich  contains  this  monument  was 
built  from  designs  by  Eosselliuo. 

A  repetition  of  this  design  was  executed  in  1470  for 
the  monument  of  Mary  of  Aragon,  wife  of  Antonio  Pic- 
colomini,  Duke  of  Amalfi.  Especially  beautiful  are  Eos- 
sellino's  representations  of  the  Madonna  in  these  works, 
—  gracious,  womanly,  maternal.  This  monument  is  in 
the  Piccolomini  chapel  of  Mont€  Oliveto  in  Naples.  In 
the  same  chapel,  adorning  the  altar,  is  a  Nativity,  —  ]irob- 
ably  the  work  of  Possellino,  though  it  has  been  attributed 
to  Donatello,  —  with  a  dancing  choir  of  angels  above,  of 
wonderful  grace  and  beauty.  This  sculptor  a.ssisted  Mino 
da  Fiesole  in  the  execution  of  the  reliefs  upon  the  pulpit 
of  the  cathedral  at  Prato  in  1473.  Those  by  his  hand 
are  tlie  Assumption  of  the  Virgin,  and  the  Martyrdom  of 
Steplien.  In  the  gallery  of  tlie  UlHzi  at  Florence  are 
marble  reliefs  of  Scripture  scenes  by  Ilossellino.  He  died 
about  1490. 

Bernardo,  brother  of  Antonio  Ilossellino,  was  a  sculp- 
tor and  architect  wlio  also  left  excellent  works  in  marble. 

7 


98  SCULPTORS  OF  THE  RENAISSANCE.  [1427. 

Among  them  are  tlie  monument  of  Leonardo  Bruni,  in  the 
church  of  S.  Croce,  in  Florence,  and  that  of  Beato  Villani 
(who  died  in  1360,  and  was  canonized  in  the  present 
century),  in  S.  Maria  JSTovella.  The  deceased  is  repre- 
sented lying  in  the  attitude  of  quiet  repose  ;  two  angels  of 
great  beauty  are  bearing  a  scroll  upon  which  an  epitaph 
is  inscribed.  Bernardo  was  much  employed  with  works 
in  architecture. 


ADAM    KRAFFT. 

ADAM  KRAFFT,  one  of  the  most  important  Ger- 
man sculptors  of  the  fifteenth  century,  was  born 
about  1430.  There  remain  a  comparatively  small  number 
of  well-authenticated  works  by  this  master,  and  these 
were  produced  in  his  later  years.  They  are  remarkable 
for  expression  and  refinement  of  feeling.  His  characters 
are  lifelike  and  real,  and  his  sacred  subjects,  which  are  his 
chief  productions,  are  full  of  elevated  spirituality.  His 
personages  are  not  remarkable  for  ideal  beauty ;  like 
Diirer's,  they  are  intensely  human,  yet  ennobled  by  the 
highest  aspirations  and  the  most  profound  emotions. 

The  earliest  authenticated  works  of  Krafft  are  his 
scenes  of  the  Passion,  known  as  the  Seven  Stages,  sculp- 
tures on  the  road  leading  to  the  cemetery  of  St.  Johannes 
at  iSTuremberg.  These  reliefs  are  full  of  life  and  action, 
and  bring  before  the  spectator  the  different  scenes  which 
transpired  on  the  way  to  Calvary  with  thrilling  power. 
They  are  crowded  with  figures,  yet  distinctly  arranged, 
and  all  parts  are  in  keeping.  The  first  scene  represents 
the  meeting  of  Christ  with  his  mother,  and  depicts  the 


1430]  ADAM   KRAFFT.  90 

most  profound  sorrow.  The  second  represents  liim  sink- 
ing beneath  the  burden  of  the  cross ;  and  the  third,  his 
address  to  the  weeping  women  who  are  following  him. 
The  fourth  scene  is  the  meeting  with  S.  Veronica,  who, 
according  to  the  legend,  met  the  Saviour  on  his  way  to 
the  crucifixion,  and  gave  him  her  veil  with  which  to  wipe 
the  sweat  from  his  brow.  The  fifth  portrays  tlie  rude  and 
violent  treatment  of  the  persecutors ;  and  the  sixth,  tlie 
moment  in  which  he  falls  beneath  the  weight  of  the  cross. 
The  last  scene  is  the  dead  body  of  Christ  supported  on 
the  lap  of  his  mother,  and  is  of  tlie  most  touching  char- 
acter. Krafft's  figures  are  usually  short  and  of  a  some- 
what coarse  stoutness,  but  the  form  of  Christ  in  this  relief 
is  slender,  and  of  a  more  ideal  delicacy,  and  the  head  is  of 
an  exalted  expression.  These  scenes  have  been  injured 
both  by  exposure  and  by  restoration. 

In  the  church  of  St.  Sebald  is  this  master's  largest,  and 
one  of  his  finest  works,  Schreyer's  monument.  He  has  here 
represented  the  Crucifixion,  the  Entombment,  and  the  Ees- 
nrrection.  The  scenes  contain  many  figures,  and  are  de- 
picted with  power  and  pathos.  Other  reliefs  by  him  of  a 
similar  character  are  in  the  same  church. 

Towards  the  end  of  the  fifteenth  century  Krafft  execut- 
ed for  the  church  of  St.  Lawrence  a  Tabernacle  sixty-four 
feet  in  height,  enriclied  witli  architectural  ornaments,  — 
compositions  in  bas-relief  This  Tabernacle,  designed 
as  a  receptacle  for  the  Host,  is  spire-shaped,  terminating 
in  a  crooked  finial.  It  is  of  stone,  and  the  architecture 
is  very  elalx)i-ate.  The  structure  is  supported  by  three 
kneeling  figures,  life  size,  proljably  representing  the  sculp- 
tor and  his  colleagues.  Around  the  lower  portion  are 
lx?autiful  statuettes  of  saints,  with  the  Madonna.  The 
reliefs  above  consist  of  scenes  from  the  Pas.sion  and  tlie 
Last  Siijipor. 


100  SCULPTORS  OF  THE  RENAISSANCE.  [1430. 

His  last  work  is  an  Entombment  in  the  Holzschuber 
Chapel  in  the  cemetery  of  St.  Johannes.  He  died  in 
1507. 

Dr.  Liibke  says  of  this  artist :  "  Krafft  is  perhaps  the 
truest  mirror  of  the  German  nature.  The  sphere  of  his 
representation  is  not  vast.  It  is  limited  almost  without 
exception  to  the  Glorification  of  Mary  and  the  Passion  of 
her  Son.  But  his  whole  mind  has  been  absorbed  in  these 
subjects,  and  he  depicts  them  with  a  heartiness  which  is 
all  the  more  touching  in  effect,  as  the  master  with  tender 
awe  avoids  all  display  of  the  pathetic.  The  Passion 
scenes  are  reproduced  with  more  vehemence  and  excite- 
ment by  the  greater  number  of  the  masters  of  the  period ; 
but  by  none  more  touchingly  and  thrillingly.  And  this 
truth  of  feeling  elevates  all  his  figures,  and  imparts  to 
their  simple  citizen-like  character  a  breath  of  that  spirit- 
ual beauty  which  makes  us  even  forget  the  want  of  ideal 
beauty." 


MICHEL   COLOMB. 

MICHEL  COLOMB,  called  also  Michault  Colomb, 
was  a  talented  French  sculptor,  born  in  Bretagne 
in  1431,  and  educated  in  the  school  of  sculpture  at  Tours. 
His  best  works  are  distinguished  by  bold  and  picturesque 
design,  and  delicate  execution.  The  first  of  the  rooms  in 
the  Louvre,  dedicated  to  Eenaissance  sculpture,  received 
the  name  of  this  artist.  It  contains  some  of  his  celebrated 
sculptures,  —  a  marble  bas-relief  representing  St.  George 
and  the  Dragon,  executed  in  1509,  and  kneeling  statues  of 
Philippe  de  Comines,  the  statesman  and  historian,  and  his 


143L]  MICHEL  COLOMB.  101 

wife.  The  masterpiece  of  Colomb  is  the  monument  to 
Francis  II.,  Duke  of  liietague,  and  his  wife,  jMuiguerite 
de  Foix,  in  the  cathedral  of  St.  Pierre,  at  Nantes.  It 
is  inscrilied,  "Par  Tart  et  I'industrie  de  M.  Michel  Co- 
lomb, premier  sculpteur  de  son  temps." 
This  artist  died  in  1514. 


ANDREA   VEROCCHIO. 

ANDP.EA  VEPOCCHIO,  also  spelled  Verrocciiio, 
was  born  in  Florence  in  1432.  He  was  goldsmith, 
sculptor,  and  painter,  and  became  one  of  the  most  inthien- 
tial  artists  of  his  time,  producing  many  excellent  works 
and  educating  many  distinguished  pupils.  Ilis  career 
was  one  of  great  activity ;  when  rec^uiriug  rest,  he  would 
seek  it  only  in  changing  from  one  branch  of  his  art  to  an- 
other. In  the  manly  vigor  of  his  style,  Yerocchio  some- 
what resembles  Donatello  ;  and  though  sometimes  deficient 
in  ideal  beauty,  his  works  exhibit  great  power  and  energy, 
and  a  knowledge  of  form  and  motion.  Master  of  a  wide 
field,  lie  succeeded  in  the  grand  and  colossal,  as  in  the  mi- 
nute and  delicate.  It  is  said  of  him  that  he  shares  with 
Donatello  the  honor  of  making,  in  equestrian  statues,  a 
nearer  approach  to  the  anti(pie  tlian  any  other  sculptor 
of  Italy. 

One  of  his  early  works  in  sculpture  is  a  bronze  figure 
of  David,  now  in  the  ^Museum  of  the  Ikrgello,  in  Flo- 
rence.  It  represents  tlie  youthful  champion  as  erect  and 
slender  in  form,  standing  in  a  free  and  natural  attitude, 
one  hand  resting  ujton  the  hip,  the  otlier  hanging  at  his 
side  and  holding  a  small  sword  ;  tlie  liead  of  Goliath  Hes 


102  SCULPTORS  OF  THE  RENAISSANCE.  [1432. 

at  his  feet.  It  well  portrays  the  boyish  shepherd,  but  in 
beauty  and  grandeur  it  does  not  compare  with  the  David 
of  Michael  Angelo. 

Verocchio's  latest  and  most  important  work  in  sculp- 
ture was  the  model  for  the  bronze  equestrian  statue  of 
the  Venetian  general,  Bartolommeo  CoUeoni  da  Bergamo, 
finished  after  the  death  of  the  artist,  and  placed  in  front 
of  SS.  Giovanni  e  Paolo,  in  Venice.  It  is  a  work  of  great 
power,  and  a  masterpiece  of  the  Eenaissance.  Cicognara 
thus  praises  it :  "  The  horse  seems  ready  to  descend  from 
its  pedestal.  Its  movements  are  full  of  energy  without 
being  exaggerated.  The  rider  is  majestic,  and,  although 
clothed  in  iron  mail,  he  could  not  sit  more  easily  and 
gracefully.  Without  prejudice  to  progress,  we  think  we 
may  say  that  no  more  beautiful  work  has  since  been  pro- 
duced in  this  style."  M.  Taine  calls  this  warrior  in  bronze 
"  a  weather-beaten  camp-soldier  who  orders  and  shouts, — 
not  beautiful,  but  taken  from  life,  and  energetic."  The 
animated  figure  of  the  horse  has  been  criticised  by  others 
as  not  being  true  to  nature  in  action,  and  as  too  heavy  in 
form.  The  work  was  cast  by  Alessandro  Leopardo,  whose 
name  is  upon  the  girth  beneath  the  body  of  the  horse, 
followed  by  "  F.  opus,"  which  is  doubtless  to  be  rendered 
Fusit  opus.  The  lofty  and  graceful  Corinthian  pedestal 
w;as  also  the  work  of  Leopardo. 

The  strong  and  noble  style  of  Verocchio  no  doubt  aided 
in  forming  that  which  his  distinguished  pupil,  Leonardo 
da  Vinci,  developed  in  such  perfection. 

He  died  in  1488,  and  was  buried  in  S.  Ambrogio,  in 
Florence. 


im]  AJNTONIO  POLLAJUOLO.  103 


ANTONIO    POL'LAJUOLO. 

ANTONIO  POLLAJUOLO  was  an  eminent  Floren- 
tine sculptor,  painter,  and  engraver.  The  date  of 
his  birth  is  variously  given,  but  it  is  now  supposed  to 
be  1433.  It  is  probable  that  Antonio  and  his  younger 
brother  Piero,  who  was  also  a  sculptor  and  painter,  have 
sometimes  been  confounded  in  the  history  of  art.  The 
elder  was  the  more  gifted  of  the  two  brothers,  though  the 
younger  executed  works  of  considerable  excellence. 

Antonio  was  originally  a  goldsmith,  and  labored  with 
Andrea  Yerocchio,  whom  he  resemliles  to  some  extent. 
lie  was  very  skilful  in  bronze  casting,  and  his  works 
were  finished  with  great  care.  His  style  was  evidently 
improved  liy  the  study  of  the  antique,  and  also  influenced 
by  the  bold  and  vigorous  style  of  Donatello. 

In  the  Museum  of  the  BargeUo,  in  Florence,  is  a  bronze 
relief  representing  the  crucifixion  of  Christ  and  the  two 
thieves ;  the  Marys  and  the  Apostles  are  in  groups  in 
the  foreground.  It  is  executed  with  much  skill,  and  is 
remarkable  for  the  expression  of  passionate  feeling.  The 
study  of  muscular  anatomy  is  very  marked  in  this  work. 

In  Rome,  Antonio  executed  the  monument  of  Sixtus 
IV.,  which  is  now  in  the  Chapel  of  the  Sacramento  in 
St.  Peter' ,s.  It  is  a  rich  and  yet  simple  composition ;  the 
figure  of  the  Pope  lies  upon  the  lid  of  the  sarcophagus, 
surrounded  by  the  figures  of  the  Virtues  and  figures  repre- 
senting the  arts  and  .sciences  ;  it  is  beautifully  ornamented, 
yet  without  confusion.     It  bears  the  date  1493. 

The  tomb  nf  Innocent  VIII.,  executed  at  about  the 
same  time  is  in  the  same  church,  in  the  Chajx'l  of  the 
Concezione.     Tlie  style  of  this  work  is  noble  and  chaste. 


104  SCULPTORS  OF  THE  RENAISSANCE.  [1433. 

Above  is  a  representation  of  the  living  Pope,  one  hand 
raised  in  benediction,  the  other  holding  a  dart.  Below  is 
the  recumbent  figure  in  the  quietness  of  death.  Upon 
the  monument  are  figures  of  the  Virtues  in  relief,  and  the 
whole  is  richly  ornamented.  M.  Wey  says  :  "  In  its  ele- 
gant refinement,  the  ornamentation  waits  without  solicita- 
tion or  stir  for  the  eye  to  come  and  rest  upon  it." 

Antonio  PoUajuolo  was  one  of  the  earliest  of  the  Italian 
artists  who  practised  engraving.  He  died  in  1498.  Piero 
died  a  little  earlier. 


VEIT    STOSS. 

YEIT  STOSS  ranks  among  the  most  eminent  of  the 
early  German  sculptors.  There  has  been  much  dis- 
pute regarding  his  true  name,  as  well  as  the  date  and 
place  of  his  birth.  The  Poles  claim  that  he  was  born  at 
Cracow,  but  there  seems  to  be  no  proof  of  this.  It  is  be- 
lieved that  he  was  the  son  of  Michael  Stoss,  a  brass- 
founder,  who  was  admitted  as  a  citizen  of  Nuremberg  in 
1415,  and  the  time  of  his  birth  is  supposed  to  be  about 
1438.  His  character  was  by  no  means  admirable,  though 
many  of  his  productions  in  sculpture  are  characterized  by 
great  beauty  and  tenderness  of  feeling.  According  to  the 
records  of  Nuremberg  he  was  a  most  troublesome  T;itizen, 
and  even  a  criminal.  He  committed  forgery,  and,  having 
been  convicted,  would  have  suffered  death  but  for  the 
interposition  of  various  influential  persons ;  he  was  par- 
doned after  having  suffered  branding  upon  both  cheeks. 
In  spite  of  all,  he  still  continued  "  a  restless  and  grace- 
less citizen,"  plotting  all  manner  of  evil  against  the  city 


1433]  YEIT  STOSS.  105 

of  his  birth  (or  his  adoption),  and  was  imprisoned  for  his 
bad  conduct,  besides  sutfering  other  penalties. 

Among  the  early  works  of  his  mature  time,  is  the  liigh 
altar  of  the  church  of  St.  Mary's,  at  Cracow.  Upon  the 
shrine  is  the  Crowning  of  the  Virgin,  and  the  panels  are 
covered  with  incidents  from  her  life  in  relief.  In  one  of 
tlie  chapels  of  the  cathedral  at  Cracow  is  the  monument 
of  King  Casimir  the  Great,  a  work  of  great  richness,  yet 
of  dignity  and  simplicity.  The  ligure  of  the  king  in  cor- 
onation robes  is  resting  upon  the  sarcophagus.  Upon  the 
sides  are  represented  different  classes  of  men  in  lamen- 
tation over  the  loss  of  their  sovereign.  Above  rises  a 
graceful  baldachin.     It  was  executed  about  1-49:2. 

In  Nuremberg  are  to  be  found  a  number  of  important 
and  interesting  works  by  Stoss.  In  the  church  of  St. 
Lawrence  is  a  curious  work  in  carved  wood,  suspended 
from  the  vaulted  ceiling  in  front  of  the  high  altar,  repre- 
senting the  Salutation.  Tlic  figure  of  the  Virgin  is  full  of 
dignity  and  majesty,  composed  in  manner,  if  somewhat 
constrained.  The  figure  of  the  Angel  of  the  Annunciation 
is  marked  by  violent  agitation  and  unseemly  liaste. 
Around  the  composition  are  medallions,  representing  in 
relief  tlie  seven  joys  of  ]\Iary. 

In  the  church  of  St.  Sebald,  upon  the  liigh  altar,  is  a 
crucifix,  with  the  figures  of  Mary  and  St.  John  carved  in 
wood,  of  the  date  of  152G,  ascribed  by  Neudorffer  and 
otliers  to  Stoss,  and  regarded  as  the  artist's  best  work. 
That  it  is  l)y  this  master,  who  was  then  eighty-eight  years 
of  age,  is  however  disputed,  tliough  it  is  executed  in  his 
style.  Other  reliefs  attributed  to  Sto.ss  are  to  be  seen  in 
Nuremberg.  Under  his  hand  the  art  of  wood-carving 
reached  a  marvellous  jxni'cction.  In  liis  old  age  he  be- 
came entirelv  blind.     Md  (li(fd  in  153.3. 


106  SCULPTORS  OF  THE  RENAISSANCE.  [1442? 


BENEDETTO    DA   MAJANO. 

BENEDETTO  DA  MAJANO,  or  Maiano,  was  bom 
in  Elorence  in  1442  or  1444.  He  was  eminent  as 
a  sculptor  and  an  architect,  and  also  executed  works  in 
mosaic.  He  had  a  sense  of  the  beautiful  strongly  resem- 
bling that  manifest  in  Lorenzo  Ghiberti,  and  he  was  at 
least  equal  to  that  master  in  fertility  of  invention.  Early 
in  life  he  practised  wood- carving,  and  executed  some  very 
beautiful  decorative  panelling  for  the  Sacristy  of  S.  Croce 
in  Florence. 

Benedetto's  principal  work  in  sculpture  is  a  marble 
pulpit  in  S.  Croce,  which  is  among  the  finest  productions 
of  the  art  of  the  fifteenth  century.  This  work  was  ex- 
ecuted by  the  order  of  Pietro  Mellini,  a  merchant  of  Flo- 
rence. The  sculptor  encountered  much  difiiculty,  during 
the  progress  of  his  work,  with  the  wardens  of  S.  Croce. 
The  pulpit  was  erected  against  one  of  the  columns  which 
support  the  arches  of  the  roof,  and,  as  it  was  intended  to 
perforate  the  column  to  make  room  for  the  staircase  and 
entrance  to  the  pulpit,  the  wardens  objected,  fearing  the 
process  would  weaken  the  column.  But  the  merchant 
Mellini,  who  had  confidence  in  Benedetto,  guaranteed  that 
the  work  should  be  completed  without  danger  of  injury 
to  the  building,  and  it  was  allowed  to  proceed.  Vasari 
says :  "  Benedetto  then,  first  of  all,  caused  the  column  to 
be  secured  externally  by  strong  bands  of  bronze,  all  that 
part,  that  is  to  say,  which  from  the  pulpit  downwards  is 
covered  with  granite  (pietra  forte)  •,  he  then  constructed 
the  steps  for  ascending  the  pulpit,  and  in  proportion  as 
he  excavated  the  column  within  did  he  add  to  it  exter- 
nally the  granite  above  mentioned,  in  the  manner  that  we 


14427]  BENEDETTO  DA  MAJAXO.  107 

now  see.  He  thus  conducted  this  work  to  perfection,  to 
the  astonishment  of  all  who  beheld  it."  The  column  has 
not,  since  Yasari's  day,  given  cause  for  any  suspicion  of 
weakness.  The  reliefs  upon  the  panels  of  the  pulpit  illus- 
trate the  life  of  St.  Francis,  in  five  scenes.  Below  are  the 
figures  of  Faith,  Hope,  Charity,  Fortitude,  and  Justice,  — 
graceful  and  full  of  life.  The  reliefs  are  in  perspective, 
somewhat  after  the  manner  of  Ghiberti's  bronze  reliefs 
upon  the  doors  of  S.  Giovanni,  and  like  them  are  em- 
bellished by  landscape  and  architecture.  The  scenes  are 
not  crowded,  and  the  expression  of  the  figures  is  lifelike, 
while  the  drapery  is  of  great  excellence. 

Admirable  works  by  this  sculptor  are  to  be  seen  in  the 
ancient  town  of  S.  Gimignano  "  of  the  beautiful  towers." 
In  the  elaborate  chapel  of  S.  Fina  in  La  Collegiata,  the 
Cathedral,  is  an  altar  by  Benedetto  ;  and  in  the  church  of 
S.  Airostino  is  a  memorial  shrine  of  S.  Bartolo,  who  died 
of  leprosy,  from  which  he  had  suffered  with  such  patience 
as  to  be  named  "  Augelo  di  Pace."  He  was  buried  in  this 
church  in  accordance  with  his  wish,  and  the  beautiful 
shrine  by  Benedetto  bears  the  sculptured  stories  of  his 
life.  Above  are  sculptured  angels  bearing  the  martyr's 
palm  and  crown,  and  in  niches  of  the  altar  are  statuettes 
of  Faith,  Hope,  and  Cha.Tity. 

Benedetto  sculptured  the  bust  of  Pietro  Mellini,  which 
is  now  in  the  gallery  of  the  Uffizi.  The  marble  tomb  of 
Filippo  Strozzi,  in  the  Strozzi  chapel  in  S.  Maria  Novella, 
is  by  tliis  artist,  and  is  marked  by  much  simplicity  and 
beauty  of  expression.  Benedetto  died  in  1498,  and  was 
buried  in  the  church  of  S.  Lorenzo,  in  Florence. 


108  SCULPTORS  OF  THE  RENAISSANCE.  [i445. 


BACCIO    DA    MONTELUPO. 

BACCIO  DA  MONTELUPO,  written  also  Baccio  da 
Monte  Lupo,  properly  Baetolommeo  Lupi,  an  emi- 
nent Italian  sculptor,  was  born  at  Monte  Lupo,  near 
Florence,  in  1445.  Vasari,  in  his  story  of  Baccio,  says  : 
"  Led  away  in  his  youth  by  the  pleasures  of  the  world,  he 
would  scarcely  study  at  all,  he  had  little  or  no  esteem  for 
art,  and,  although  frequently  reproved  and  exhorted  by 
many  to  a  more  industrious  life,  these  counsels  did  not 
for  the  moment  avail  him.  But  when  the  years  of  dis- 
cretion, which  usually  bring  prudence  with  them,  had 
arrived,  these  taught  him  effectually  the  extent  to  which 
he  had  departed  from  the  right  way  ;  wherefore,  covered 
with  shame,  as  he  thought  of  those  who  had  passed  before 
him  in  his  vocation,  he  resolved  with  good  courage  to 
follow  them,  and  thenceforward  to  devote  himself  studi- 
ously to  those  labors  which  idleness  had  previously  in- 
duced him  to  shun.  This  determination,  which  he  did 
not  abandon,  caused  Baccio  to  attain  an  eminence  in 
sculpture  which  many  of  those  who  had  observed  his 
proceedings  in  early  youth  had  long  ceased  to  expect ; 
devoted  with  all  his  powers  to  the  study  of  his  art,  and 
laboring  very  diligently,  he  became  excellent  and  dis- 
tinguished in  the  vocation  before  neglected." 

Baccio  worked  in  stone,  bronze,  and  wood.  He  carved 
a  great  number  of  wooden  crucifixes,  some  of  the  size  of 
life.  A  few  of  these  are  still  in  existence,  but  most  of 
them  have  been  lost  or  destroyed.  His  masterpiece  is 
the  statue  of  St.  John  the  Evangelist,  in  one  of  the  niches 
upon  the  exterior  of  Or  San  Michele,  in  Florence.  Baccio 
died  about  1533. 


144a]  BACCIO  DA  MONTELUPO.  109 

His  son,  Eafael  da  Montelupo,  boru  in  1503,  was  also 
a  sculptor,  and  appears  to  have  surpassed  bis  father,  at 
least  in  knowledge  of  art.  He  executed  some  of  the  bas- 
reliefs  in  the  Casa  Santa  at  Loreto,  after  the  designs  of 
Andrea  Sansovino.  His  best  work  is  the  monument  of 
Baldassare  Turini,  in  one  of  the  chapels  of  the  cathedral  at 
Pescia.  In  liome  he  was  appointed  architect  of  the  castle 
of  S.  Angelo,  by  Cardinal  Tiberio  Crispo.  He  decorated 
many  of  the  apartments  with  sculptures,  and  placed  upon 
the  summit  of  the  edifice  a  marble  statue  of  St.  Michael. 
This  was  afterwards  replaced  by  a  bronze  statue  of  inferior 
merit  by  a  German  sculptor.  This  artist  assisted  IMichael 
Angelo  upon  the  work  of  the  monument  of  Julius  II.,  in 
S.  Pietro  in  Vincoli,  and  upon  the  tombs  of  the  Medici  in 
Florence.  He  executed  the  statue  above  the  tomb  of 
Leo  X.  in  S.  Maria  sopra  Minerva.     He  died  in  1570. 


ALESSANDRO    LEOPARDO- 

ALESSAXDRO  LEOPAPtDO,  born  at  Venice  in  1450, 
M-as  a  sculptor,  whose  works  are  very  highly  es- 
teemed for  tlieir  elegant  design  and  masterly  execution. 
Among  his  finest  productions  is  the  mausoleum  of  the 
Doge,  Andrea  Vendramin,  in  SS.  Giovanni  e  Paolo  in  Ven- 
ice. It  is  enriched  with  admirable  statues  and  reliefs,  and 
altogether  is  scarcely  surpassed  by  any  existing  work  in 
memorial  sculpture.  The  figure  of  the  Doge  rests  upon 
the  sarcophagus  guarded  by  eagles,  and  upon  the  sul)- 
structure  are  beautiful  statues  of  the  Virtues.  The  whole 
is  adorned  witli  reliefs  of  poetic  design  and  delicate  ex- 
ecution.    In  the  chapel  of  Cardinal  Zeno,  in  S.  Marco,  is 


110  SCULPTORS  or  THE  RENAISSANCE.  [1450. 

the  finely  wrought  bronze  tomb  of  the  Cardinal  by  Leo- 
pardo ;  the  bronze  altar  in  the  same  chapel  is  also  his  work. 

The  pedestals  of  the  three  pillars  in  the  Piazza  of  S. 
Marco,  which  support  the  standards  of  the  Eepublic,  are 
by  this  artist,  and  the  elegance  and  perfection  of  their 
proportions  are  greatly  admired.  He  executed  the  bronze 
equestrian  statue  of  Colleoni  after  the  design  of  Andrea 
Verocchio. 

Alessandro  Leopardo  was  not  a  man  of  honor ;  in  order 
to  free  himself  from  a  heavy  debt  he  committed  a  forgery, 
for  which  crime  he  was  sentenced  to  banishment  from 
Venice.  The  execution  of  the  sentence  was,  however, 
delayed,  and  finally  remitted,  in  order  that  the  sculptor 
might  finish  the  work  of  the  Colleoni  statue.  He  died  in 
1510. 


LEONARDO    DA    VINCI. 

LEOXAEDO  DA  VINCI  was  born  at  Vinci,  a  smaU 
castle  in  the  lower  Val  d'  Arno,  in  1452.  This 
illustrious  name  cannot  consistently  be  omitted  from  a 
history  of  sculpture,  though  not  a  single  example  of  his 
genius  in  this  branch  of  art  is  in  existence.  He  was  the 
earliest  born,  and  in  natural  ability  the  greatest,  of  the 
artists  of  the  flowering  time  of  the  Eenaissance.  He  was 
an  illegitimate  son  of  Ser  Piero  Antonio  da  Vinci,  notary 
to  the  Signoria  of  Florence.  Nothing  is  to  be  learned  of 
his  mother  except  the  record  that  her  name  was  Caterina, 
and  that  she  married  a  certain  Accattabriga  di  Piero  del 
Vacca  di  Vinci,  after  the  birth  of  Leonardo. 

Leonardo  was  endowed  by  nature  with  the  most  ex- 
traordinary  gifts   of  intellect,   and  great   versatility  of 


1462.]  LEONARDO  DA   VINCI.  Ill 

talent.  His  remarkable  power  and  brilliancy  were  mani- 
fested in  every  pursuit  to  which  he  turned  his  attention, 
and  all  branches  of  knowledge  were  acquired  with  equal 
ease  and  rapidity.  Fascinated  with  scientific  pursuits, 
and  eager  for  discovery,  his  attainments  in  this  vast  field 
seem  almost  miraculous  ;  while  poetry,  and  music,  and  all 
the  more  graceful  accomplishments,  were  cultivated  and 
enjoyed  with  the  same  enthusiasm.  He  was  as  attractive 
in  person  as  in  mind,  —  Vasari  says  his  beauty  of  person 
"  was  such  that  it  has  never  been  sufficiently  extolled," 
—  and  to  this  were  added  the  most  pleasing  manners  and 
address.  M.  Taine  says  of  him :  "  The  world,  perhaps, 
contains  no  example  of  a  genius  so  universal,  so  creative, 
so  incapable  of  self-contentment,  so  athirst  for  the  infi- 
nite, so  naturally  refined,  so  far  in  advance  of  his  own  and 
of  subsequent  ages."  But  with  all  that  can  be  learned  of 
his  outward  life,  —  which  is,  indeed,  very  little, — and  with 
all  the  patient  and  critical  study  of  his  works,  Leonardo 
da  Vinci  still  remains  in  a  great  measure  incomprehensi- 
ble to  the  world.  Xo  other  among  the  great  artists  of  the 
time  is  so  little  understood.  As  he  enjoyed  discovery  for 
itself,  apart  from  all  practical  results,  so  he  seemingly 
enjoyed  his  art,  content  with  having  measured  his  ability 
in  this  field  of  exercise ;  and  though  an  indefatigable 
worker,  he  really  accomplished  very  little  compared  with 
what  hi-s  vast  genius  was  capable  of  Of  his  work  in  art 
scarcely  more  remains  than  is  sufficient  to  indicate  what 
he  might  have  achieved  ;  while  his  literary  and  scientific 
writings,  and  the  great  mass  of  his  drawings  and  plans, 
are  in  such  bewildering  confusion  that  centuries  of  re- 
search and  attempts  at  classification  have  yielded  but  a 
scanty  liarvest. 

In  Leonardo's  youth  painting  appears  to  have  been  the 


112  SCULPTORS  OF  THE  RENAISSANCE.  [1452. 

favorite  of  all  his  pursuits,  and  while  dividing  his  time 
among  many  things  he  never  abandoned  the  practice  of 
drawing ;  he  also  employed  himself  upon  works  in  relief, 
and  when  very  young  modelled  heads  in  terra-cotta  of 
great  excellence.  It  is  said  that  he  uudertook  many 
things  which  he  never  completed,  "  because  it  appeared 
to  him  that  the  hand  could  never  give  its  due  perfection 
to  the  object  or  purpose  which  he  had  in  his  thoughts  or 
beheld  in  his  imagination." 

In  his  early  years  he  was  instructed  by  Andrea  Veroc- 
chio ;  and  as  we  are  informed  of  no  other  assistance 
which  he  received,  it  may  be  supposed  that  he  was  in 
great  measure  self-taught.  He  however  retained  traces 
of  his  early  education  in  art  through  his  whole  career. 
His  enthusiasm  in  the  study  and  delineation  gf  the  horse 
was  probably  stimulated  by  Verocchio,  wdiose  masterly 
treatment  of  the  animal  is  shown  in  the  Colleoni  eques- 
trian statue  in  Venice. 

About  1477,  Leonardo  left  Verocchio  and  opened  an 
atelier  in  Florence  on  his  own  account,  and  for  a  few 
years  employed  himself  in  painting,  in  making  experi- 
ments, and  in  perfecting  himself  in  personal  accomplish- 
ments. About  1481,  when  he  was  twenty-nine  years  of 
age,  he  left  Florence  and  went  to  Milan,  where  he  found 
a  patron  in  Ludovico  Sforza.  He  was  occupied  for  a  time 
in  painting  portraits  of  the  Duke,  and  of  his  beautiful 
mistresses,  as  well  as  various  religious  pictures.  A  little 
later  he  commenced  his  great  work  in  sculpture,  —  the 
model  for  the  equestrian  statue  of  Francesco  Sforza.  He 
was  commissioned  by  Duke  Ludovico  Sforza  to  execute 
this  memorial  in  honor  of  his  father.  Leonardo  was  en- 
gaged for  sixteen  years  in  perfecting  his  model  for  the 
work,  which  was  to  be  of  such  colossal  proportions  as  to 


1452]  LEONARDO  DA  VINCI.  113 

require  one  hundred  thousand  pounds  of  bronze  for  the 
casting.  The  aliairs  of  the  Duke  became  greatly  embar- 
rassed, and  the  bronze  was  not  furnished. 

In  1500,  Ludovico  was  overthrown  in  battle  and  made  a 
prisoner  by  the  French  ;  it  has  been  long  believed  the  sol- 
diers made  a  target  of  Leonardo's  noble  model,  and  utterly 
destroyed  it,  though  lately  discovered  documents  seem  to 
indicate  that  it  existed  for  a  few  years  longer,  though 
finally  destroyed  by  the  wantonness  of  war.  There  are 
old  engravings  of  the  work,  in  which  Francesco  Sforza 
holds  a  general's  baton  in  his  hand,  and  beneath  the  horse 
lies  a  fallen  warrior.  A  small  model  of  the  statue  ex- 
ecuted in  wax  was  for  some  time  in  existence,  but  was 
finally  lost.  A  book  of  studies  of  the  anatomy  of  the 
horse,  which  the  artist  had  prepared  for  his  own  use,  also 
disappeared. 

For  this  undertaking  Leonardo  had  prepared  himself 
by  the  most  extensive  study  and  practice,  particularly  in 
the  treatment  of  the  horse.  He  studied  works  of  ancient 
art,  and  ancient  writings,  and  made  an  endless  variety  of 
drawings,  many  of  which  are  scattered  in  different  collec- 
tions. In  the  Ambrosian  Library  in  Milan  are  sketches 
of  the  statue,  and  of  a  case  which  the  artist  designed  for 
transporting  it.  In  the  British  ^luseum  are  studies  of 
horsemen  and  horses.  At  Windsor  are  a  variety  of  stud- 
ies directly  relating  to  the  Sforza  monument,  consisting 
of  complete  sketches  for  the  work,  and  studies  of  warriors 
and  horses  in  various  attitudes  and  action.  Leonardo's 
ma.sterly  delineation  of  the  horse  is  well  shown  in  his 
celebrated  cartoon  of  the  Battle  of  the  Standard.  Several 
studies  for  this  cartoon  are  in  existence. 

In  Milan,  Leonardo  became  Director  of  the  Academy 
of  Painting  and  Architecture ;  and  for  this  position  his 


114  SCULPTORS  OF  THE  RENAISSANCE.  [i452. 

extraordinary  combination  of  talents  and  his  extensive 
knowledge  admirably  fitted  him.  His  scientific  knowl- 
edge was  the  means  of  great  advancement  in  the  art  of 
painting ;  and  being  so  well  versed  in  history  and  poetry, 
his  school  became  remarkable  for  its  observation  and 
accuracy  in  regard  to  details.  His  instructions  in  chiaro- 
oscuro  were  of  great  value  ;  he  taught  his  pupils  to  "  make 
as  cautious  a  use  of  light  as  of  a  gem,  not  lavishing  it  too 
freely,  but  reserving  it  always  for  the  best  place."  He 
banished  from  his  Academy  the  dry  Gothic  principles 
established  by  his  predecessor,  the  Milanese  artist,  Michi- 
lino,  and  introduced  the  simplicity  and  purity  of  the 
Roman  and  Grecian  styles.  Lanzi  declares  that  "  he  left  a 
degree  of  refinement  at  Milan  so  productive  of  illustrious 
pupils  that  this  period  may  be  reckoned  as  the  most  glo- 
rious era  of  his  life." 

Leonardo  executed  important  and  extensive  engineer- 
ing works.  He  was  engaged  by  the  Duke  of  Milan  to 
conduct  the  waters  of  the  Adda,  from  Martesana,  through 
Valtellina  and  the  valley  of  Chiavenna,  to  the  walls  of 
Milan,  —  a  distance  of  nearly  two  hundred  miles, —  an 
undertaking  which  he  successfully  accomplished. 

After  the  overthrow  of  Ludovico  Sforza,  the  Academy 
at  Milan  was  suppressed,  and  Leonardo  returned  to  Flo- 
rence. In  1503  he  was  appointed  architect  and  chief  en- 
gineer to  Cesare  Borgia,  who  commissioned  him  to  inspect 
the  fortresses  of  his  states,  and  in  that  capacity  he  trav- 
elled and  labored  for  some  time.  As  an  architect,  he  con- 
structed various  edifices,  and  made  designs  for  others,  and 
w-as  the  author  of  various  inventions  in  military  architec- 
ture. In  the  Ambrosian  library  at  Milan  are  numerous 
sketches  and  plans  of  great  interest,  showing  devices  for 
machinery,  military  bridges  with  explanatory  manuscripts, 


1452.]  LEONARDO   DA  VINCI.  115 

plans  for  excavations  and  embankments,  hydrographic 
maps,  etc.  He  was  the  author  of  several  works  upon 
scientific  and  artistic  subjects,  the  principal  of  which 
is  his  treatise  upon  Painting.  After  his  death,  his  writ- 
ings and  designs  were  collected  into  thirteen  volumes, 
and  these  are  dispei-sed  in  various  galleries  and  collec- 
tions, the  greater  portion  remaining  at  Milan. 

The  greatest  work  in  painting,  of  the  period  of  the 
Renaissance,  was  the  Last  Supper,  painted  by  Leonardo 
for  the  convent  of  S.  Maria  delle  Grazie  in  Milan,  now 
a  total  wreck.  Other  pictures  by  his  hand  are  in  exist- 
ence, and  in  fair  preservation ;  but  it  seems  a  strange  and 
sad  fatality  that  his  most  sublime  achievement  in  paint- 
ing, as  in  sculpture,  should  be  doomed  to  such  wanton 
destruction. 

In  1516  Leonardo  went  to  France,  by  the  invitation  of 
Francis  L,  where,  in  a  chateau  near  the  castle  of  the  king 
at  Amboise,  his  last  days  were  past.     He  died  in  1519. 


PETER    VISCHER. 

PETER  VISCHER,  an  eminent  German  sculptor  and 
foimder,  was  born  in  Nuremberg,  probably  about 
14G0.  His  father  was  Hermann  Visclier,  a  bronze-caster, 
famous  in  his  jjrofession,  but  far  surpassed  by  his  son. 
The  greater  part  of  Peter  Vischer's  life  was  passed  in 
Xuremberg,  where  his  cliief  works  are  to  be  seen.  Aside 
from  liis  artistic  career  there  are  but  scanty  records  of 
his  life.  He  was  earnest  and  self-reliant,  simple  in  life, 
and  deeply  devoted  to  his  art.  In  his  works  are  to  be 
found  the  same  characteristics  which  distinj^uish  tliose  of 


116  SCULPTORS  OF  THE  RENAISSANCE.  [i460. 

Lorenzo  Gbiberti ;  his  figures  are  marked  by  the  same 
dignity  and  repose.  He  was  fond  of  rich  ornamentation, 
but  he  did  not  overload  his  sculptures,  or  resort  to  the 
trifling  and  the  shallow. 

Viscber's  earliest  known  work  is  the  monument  of 
Archbishop  Ernst,  in  the  cathedral  of  Magdeburg,  ex- 
ecuted about  1495.  It  is  a  work  of  much  merit,  and  is 
finished  with  great  nicety  in  its  most  minute  details. 
It  bears  a  portrait  figure  of  the  deceased  bishop,  and 
statuettes  of  the  Apostles.  The  architectural  portions  are 
Gothic  in  style,  though  softened  by  the  freer  decoration  of 
a  later  period.  The  heads  are  varied  and  expressive,  the 
drapery  is  simple  and  arranged  in  broad  masses.  The 
figures  are  short  and  lacking  in  gracefulness,  and  the 
hands  are  not  beautiful ;  but  the  conception  and  the  style 
of  the  work  as  a  whole  exhibit  the  artist's  sense  of 
beauty,  and  his  endeavors  to  free  himself  from  the  real- 
ism of  the  Nuremberg  school.  The  work  is  inferior  to 
the  author  s  later  productions,  for  his  advancement  in  art 
was  unceasing. 

The  principal  work  of  Peter  Vischer  is  the  bronze 
tomb  of  Sebald,  the  patron  saint  of  Nuremberg,  in  the 
church  of  St.  Sebald,  conmienced  in  1508,  and  finished  in 
1519.  This  celebrated  shrine  is  of  an  agreeable  form, 
and  is  very  elaborately  and  tastefully  ornamented.  Of 
this  rich  and  graceful  work  it  has  been  said,  "  It  has  only 
one  counterpart  in  the  entire  plastic  art  of  the  period, 
namely,  Ghiberti's  great  bronze  gate  at  Florence."  In  its 
execution  Vischer  was  assisted  by  his  five  sons.  Upon 
the  sides  of  the  structure  which  supports  the  sarcophagus 
are  reliefs  representing  scenes  from  the  life  of  the  saint. 
One  of  these  finely  illustrates  the  legend  of  the  burning 
icicles.     The  saint  is  said  to  have  lived  in  a  cell  not  far  from 


1460]  PETER  VISCHER-  117 

the  city,  goiug  almost  daily  to  teach  and  minister  to  the 
suffering  there,  and  was  in  tlie  habit  of  stopping  to  rest 
in  the  liouse  of  a  poor  family.  One  day  he  found  them 
without  fire,  and  perishing  with  cold.  He  directed  them 
to  bring  in  the  icicles  which  hung  from  the  roof  and  use 
them  for  fuel ;  tliey  did  so,  and  were  warmed  and  cheered 
by  the  miraculous  fire.  The  figures  in  the  relief  express 
a  mingled  gratitude  and  astonishment  that  is  naive  and 
lifelike.  Another  relief  illustrates  the  story  of  the  father 
of  the  same  poor  family,  whom  St.  Sebald  had  sent  to 
buy  fish  for  a  fast  day ;  the  lord  of  Nuremberg  had  issued 
a  command  that  no  one  should  buy  fish  until  the  castle 
had  been  supplied,  and,  as  this  had  not  been  complied 
with,  he  ordered  that  the  poor  man's  eyes  should  be  put 
out.  The  bas-relief  represents  the  saint  restoring  his 
sif'ht.  Upon  one  of  the  narrow  sides  of  the  tomb  is  a 
statuette  of  the  saint,  with  a  pilgrim's  staff"  in  one  hand 
and  a  model  of  the  church  in  the  other.  Upon  the  other 
side  is  the  artist's  own  portrait,  in  his  workman's  dress,  — 
round  cap  and  leather  apron.  It  is  a  sturdy  figure,  with 
a  liroad  German  face,  and  short,  thick  beard,  and  holds  a 
"ravin-T  tool  in  each  hand.  The  centre  of  the  shrine  is 
enclosed  and  surmounted  by  eight  pillars,  forming  arches 
above,  and  crowned  by  a  richly  ornamented  dome.  On  a 
level  with  the  eye  of  the  spectator  are  statues  of  the 
twelve  Apostles,  eighteen  inches  in  height.  The  forms 
are  fine  and  the  heads  noble,  and  of  distinct  individual- 
ity. Above  these  are  other  figures,  some  of  tliem  ]iioph- 
ets  doubtless.  Crowning  the  whole  is  the  figure  of  the 
Infant  Christ.  At  the  base  are  represented  sirens,  satyrs, 
and  tritons.  The  slirine  is  supported  upon  the  shells  of 
snails.  Llibkc  says  :  "  Never  has  a  work  of  German 
sculpture   comljined    the   beauty  of  the  Soutli   witli  the 


118  SCULPTORS  OF  THE  RENAISSANCE.  [i4€0. 

deep  feeling  of  the  North  more  richly,  more  thoughtfully, 
and  more  harmoniously." 

Among  his  later  works  is  a  monumental  relief  in  the 
cathedral  at  Katisbon.  It  represents  the  meeting  of 
Christ  with  the  sisters  of  Lazarus.  The  scene  is  dis- 
tinctly portrayed,  and  the  figures  are  invested  with  a 
gentle  and  serious  dignity.  Martha  is  approaching  the 
Saviour  with  loving  confidence,  and  he  raises  one  hand 
in  blessing  as  he  looks  down  upon  her  with  compassion. 

In  depth  of  feeling  this  artist  is  akin  to  Albert  Diirer, 
and  like  him  is  loved  and  reverenced  in  his  native  Nu- 
remberg, to  which  he  bequeathed  the  best  fruits  of  his 
genius  and  toil.  In  his  sense  of  the  beautiful  he  has 
never  been  surpassed  by  any  German  artist ;  and  with 
the  warmth  and  sincerity  peculiar  to  his  nation  he  has 
blended  something  of  the  outward  attraction  of  form 
which  is  characteristic  of  Italian  art. 

Peter  Vischer  died  in  1529.  He  had  five  sons,  who 
assisted  him  in  his  artistic  labors,  and  the  eldest,  Her- 
mann Vischer,  became  eminent  as  a  sculptor.  He  died 
in  1540.  JoHANN  Vischer  also  produced  works  of  excel- 
lence, among  which  the  monument  of  Bishop  Bibra,  in 
the  cathedral  at  Wlirzburg,  is  notable. 

One  of  the  most  important  among  the  pupils  of  Peter 
Vischer  was  Pankraz  Labenwolf.  He  executed  the 
beautiful  fountain  for  the  court-yard  of  the  Eathhaus  in 
Nuremberg  ;  and  for  the  Gansenmarkt,  at  the  back  of  the 
Frauenkirche,  the  much  admired  fountain-figure  of  bronze, 
representing  a  peasant  with  a  goose  under  each  arm,  the 
water  flowing  from  their  mouths.  It  is  called  the  Gan- 
senmannchen  (Little  Goose  Man), 


1460.]  ANDREA  SANSOVINO.  119 


ANDREA    SANSOVINO. 

AXDREA  SAXSOYIXO,  or  CONTUCCIO,  dal 
Monte  Saxsovino,  or,  more  correctly  San  Saving, 
was  born  at  Monte  Sansovino  in  1460.  He  was  the  son 
of  a  peasant,  and  showed  his  fondness  for  imitating  the 
forms  of  nature  by  drawing  pictures  in  the  sand,  and 
modelling  figures  in  clay,  when  a  child  attending  his 
flocks.  The  governor  of  the  province  of  Sansovino,  Si- 
mone  Vespucci,  interested  himself  in  the  lad,  and,  obtain- 
ing the  consent  of  his  father,  took  him  to  Florence,  where 
he  was  instructed  in  art  by  the  best  masters.  Vasari  says  : 
"  Although  Andrea  di  Domenico  Contucci  of  ]\Ionte  San- 
sovino was  born  of  extremely  poor  parents,  his  father 
being  a  laborer  of  the  earth,  and  was  himself  brought 
up  to  guard  the  flocks,  he  was  nevertheless  of  so  exalted 
a  mind,  of  intelligence  so  remarkable,  and  of  so  bold  a 
spirit,  that,  whether  in  works  or  discourses  relating  to 
the  difficulties  of  architecture  and  perspective,  the  period 
at  which  he  lived  could  show  no  genius  more  truly  ele- 
vated, no  mind  more  subtle,  than  his  own." 

In  beauty  and  purity  of  style  his  works  are  allied  to 
those  of  Eaphael,  and  the  influence  of  Leonardo  da  Vinci 
may  be  traced  in  some  of  his  creations.  One  of  his  finest 
productions  is  the  marble  group  representing  the  Baptism 
of  Christ,  above  the  eastern  door  of  the  Baptistery  at 
Florence.  There  is  a  simple  grandeur  in  tlie  treatment 
of  the  forms,  and  the  expression  is  calm  and  natural.  It 
was  left  incomplete  by  Sansovino,  and  was  finished  by 
Vincenzo  Danti,  an  artist  of  the  sixteenth  century,  who 
was  tlie  author  of  the  group  representing  the  Beheading 
of  St.  John,  above  the  southern  door  of  the  Baptistery. 


120  SCULPTOES  OF  THE  RENAISSANCE.  [i460. 

An  angel  standing  at  the  right  of  the  Saviour  in  the 
group  by  Sansovino  was  added  in  the  last  century.  It 
has  been  called  "  a  most  superfluous  angel." 

At  Eome,  in  the  early  part  of  the  sixteenth  century,  San- 
sovino executed  several  important  works.  Two  marble 
monuments  in  S.  Maria  del  Popolo,  to  the  memory  of 
Cardinals  Ascanio  Maria  Sforza  and  Girolamo  Basso.  The 
figures  of  the  two  prelates  are  noble  and  truthful,  and 
the  decorations  are  of  a  chaste  and  beautiful  character. 
M.  Wey  says  of  these  sculptures :  "  The  arrangement  of 
the  compositions,  their  delicacy  which  is  never  dry,  their 
opulence  which  remains  sober,  that  sumptuosity  which  re- 
mains grave  and  so  much  grander  without  emphasis,  all 
contribute  to  recommend  these  monuments." 

A  very  attractive  work  is  in  the  church  of  S.  Agostino 
in  Rome,  —  a  group  representing  the  Virgin  and  Child 
and  St.  Anna.  It  is  full  of  life  and  expression;  the 
Child  is  seated  upon  the  lap  of  his  mother,  who  is  gazing 
upon  him  with  a  look  of  absorbed  affection  ;  St.  Anne  sits 
beside  them  with  one  arm  around  the  shoulders  of  Mary, 
caressing  the  Child.  Llibke  classes  this  group  "among 
the  most  splendid  inspirations  of  this  grand  period."  It 
brings  to  mind  the  tender  and  loving  Madonnas  and  Holy 
Families  of  Raphael.  The  group  is  placed  against  the 
pillar,  upon  the  upper  part  of  which  Raphael  painted  in 
fresco  his  figure  of  the  prophet  Isaiah. 

In  the  church  at  Loreto,  Sansovino  continued  the  work 
of  rebuilding  the  Casa  Santa  which  was  commenced  by 
Bramante,  and  adorned  it  with  sculptures  in  conjunction 
with  other  artists.  The  sculptures  of  the  Casa  Santa 
are  reckoned  among  the  highest  productions  of  Christian 
plastic  art,  though  they  are  not  all  of  equal  merit,  and 
many  of  them  have   doubtless  been  overpraised.      The 


146a]  AKDREA  SANSOVINO.  121 

Casa  Santa,  or  Holy  House,  is  reputed  to  be  the  original 
dwelling,  or  a  part  of  it,  in  which  the  Virgin  Mary  lived 
in  Nazareth,  the  sacred  scene  of  the  Annunciation,  and 
the  home  of  the  Saviour  with  his  mother  and  Joseph. 
According  to  the  legend  it  was  miraculously  translated,  in 
1291,  to  Fiiune,  in  Dalmatia,  and  thence  three  years  after 
to  Eecanati,  whence  it  was  transferred  to  its  present  site. 
It  was  originally  of  rude  material  and  construction,  but 
has  been  transformed  into  a  marvel  of  magnificence.  It 
is  entirely  encased  in  white  marble,  elaborately  decorated 
with  sculptures.  Among  these  are  a  great  number  of 
statues  representing  prophets  and  sibyls,  most  of  which 
were  probably  designed  by  Sansovino,  though  executed 
by  other  artists  in  the  master's  style.  The  prophet  Jere- 
miah is  said  to  be  the  work  of  his  own  hand.  The  bas- 
reliefs  illustrate  scenes  from  the  life  of  the  Virgin,  and 
the  legend  of  the  Casa  Santa.  Some  of  these  were  doubt- 
less executed  by  other  artists.  The  Annunciation  and 
the  Birth  of  Christ  are  supposed  to  be  by  the  master's 
hand,  and  are  of  extraordinary  excellence. 

Among  the  architectural  works  of  Andrea  Sansovino 
is  the  Corinthian  vestibule  which  connects  the  Sacristy 
with  the  church  of  S.  Spirito  in  Florence ;  the  reliefs 
which  ornament  it  are  among  his  early  works  in  sculp- 
ture. He  also  executed  works  in  both  architecture  and 
sculpture  in  Portugal,  where  he  spent  nine  years  in  the 
service  of  the  king. 

Among  tlie  most  noted  followers  of  Sansovino  are 
XiccoLO  Pekicoli  (surnamed  Tribolo),  of  Florence,  and 
Francesco  da  Sangallo,  both  of  whom  took  part  in  the 
sculptures  of  the  Casa  Santa.  Andrea  Sansovino  died  in 
1529,  greatly  lamented,  not  oidy  by  his  family,  who  were 
fondly  attached  to  him,  but  by  his  countrymen,  who  held 


122  SCULPTORS  OF  THE  RENAISSANCE.  [i460. 

him  in  high  esteem.  He  was  small  in  stature,  though 
well  proportioned  ;  his  complexion  was  fair,  his  hair  long 
and  soft ;  and  though  he  had  a  slight  impediment  in  his 
speech,  when  he  discoursed,  he  spoke  "  well,  and  to  good 
purpose." 


PIETRO    TOERIGIANO. 

PIETEO  TOEEIGIANO  was  born  at  Florence  about 
1472.  In  his  youth  he  studied  in  the  gardens  of 
Lorenzo  de'  Medici  in  Florence,  in  company  with  many 
other  pupils,  who  afterwards  became  distinguished  in 
sculpture.  Torrigiano  was  possessed  of  much  talent, 
and  became  a  skilful  artist,  but  he  was  of  a  jealous  and 
quarrelsome  temper.  Vasari  says  :  "  He  could  never  en- 
dure that  any  other  should  surpass  himself,  and  often  set 
himself  to  spoil  with  his  hands  such  of  the  work  of  his 
fellow-students  as  he  perceived  to  display  a  degree  of 
excellence  to  which  he  could  not  attain,  when,  if  those 
whom  he  thus  attacked  resented  the  injury,  he  would 
often  assail  them  further,  and  that  with  something  harder 
than  words."  Cellini  describes  him  as  a  man  of  "a  mag- 
nificent figure,  and  of  a  most  audacious  deportment." 
Michael  Angelo,  who  was  a  fellow-pupil  with  Torrigiano, 
became  the  victim  of  his  jealous  rage  and  ungoverned 
passion,  and  for  this  personal  outrage  Torrigiano  was 
obliged  to  flee  from  Florence.  He  repaired  to  Rome, 
where  he  was  employed  for  a  time  in  the  decorations  of 
the  Vatican ;  but,  following  his  restless  inclinations,  he 
soon  abandoned  sculpture  and  enlisted  as  a  soldier.  Not 
gaining  the  distinction  which  his  ambition  demanded,  he 
returned  to  his  artistic  pursuits,  executing  several  small 


1472]  PIETRO  TORRIGIANO.  123 

•works  which  were  purchased  by  Florentines.  He  after- 
wards proceeded  to  England,  where  he  was  favored  by  the 
king,  Henry. VIII.,  and  was  employed  in  a  variety  of 
works  in  sculpture.  Among  them  is  the  tomb  of  Henry 
Yll.,  and  his  queen,  Elizabeth  of  York,  in  the  chapel  of 
Henry  A^II.  in  Westminster  Abbey,  finished  in  1519. 
Lord  Bacon  called  this  "  one  of  the  stateHest  and  daintiest 
tombs  in  Europe."  It  is  in  the  style  of  a  detached  struc- 
ture, with  arcades  of  black  marble,  and  is  richly  adorned 
with  statues  and  reliefs.  The  figures  of  the  king  and 
queen,  in  gilt  bronze,  are  simple  and  noble,  and  of  fine 
finish.  The  altar  tomb  of  Margaret  of  Eichmond,  mother 
of  Henry  VII.,  in  the  south  aisle  of  the  same  chapel,  is 
supposed  to  be  the  work  of  Torrigiano.  He  was  com- 
missioned to  execute  a  monument  for  Henry  VIII.,  but 
he  soon  after  left  England  and  went  to  Spain.  There 
he  executed  various  religious  works  which  were  highly 
prized  ;  among  them  a  Virgin  and  Child,  which  was  so 
beautiful  that  the  Duke  of  Arcos  desired  a  repetition, 
for  which  lie  promised  a  liberal  compensation.  Torrigiano 
completed  the  work,  and  the  Duke  sent  in  payment  a 
large  quantity  of  coins  of  very  small  value,  which  so  ex- 
asperated the  fierce-tempered  artist  that  he  seized  a 
mallet  and  shivered  the  group  to  pieces.  It  is  said  that 
fragments  of  the  unfortunate  group  of  the  Madonna  and 
Child  are  preserved  in  Seville  with  great  care,  among 
them  a  most  perfect  hand. 

Torrigiano  was  accused  of  lieresy,  and  condemned  to 
death  by  the  Inquisition,  which  sentence  he  only  escaped 
by  starving  liiinsclf  to  death.  Thus,  in  1522,  terminated 
the  stormy  life  of  this  brilliant  artist. 


124  SCULPTORS  OF  THE  RENAISSANCE.  [1475. 


MICHAEL  ANGELO  BUONAROTTI. 

MICHAEL  ANGELO  BUONAEOTTI,  written  also 
MiCHELAGNOLO  BUONARKOTI,  waS  bom  OH  the  6th 
of  March,  1475,  or,  according  to  the  Florentines,  who 
dated  the  beginning  of  the  year  from  March  26th,  in 
1474.  His  birth  occurred  on  Sunday,  and,  as  we  are  in- 
formed by  tradition,  "under  a  fated  and  happy  star." 
He  was  christened  Michelagnolo  according  to  an  inspira- 
tion of  his  father,  who  was  impressed  with  the  feeling 
that  something  more  celestial  pertained  to  him  than  to 
ordinary  humanity.  Unquestioning  faith  in  the  "  happy 
star  "  must  have  been  wanting,  however,  for  we  are  told 
that,  as  the  boy  grew  older,  and  exhibited  an  unconquer- 
able love  for  drawing,  he  was  beaten  for  indulging  it. 

Lodovico  Buonarotti,  the  father  of  Michael  Angelo,  was 
Podesta  or  Mayor  of  Chiusi,  the  ancient  Clusium  Novum, 
and  of  Caprese,  a  small  town  in  the  valley  of  the  Singerna, 
in  the  vicinity,  and  in  the  latter  place  Michael  Angelo 
was  born.  When  Lodovico's  term  of  office  expired,  he 
removed  with  his  family  to  Settignano,  near  Florence,  to 
a  farm  which  he  had  inherited  from  his  ancestors.  The 
place  abounded  in  stone  quarries,  which  were  worked  by 
the  natives,  and  Michael  Angelo,  who  was  still  an  infant, 
was  placed  with  the  wife  of  ,a  stone-cutter  to  be  nursed. 
Giorgio  Vasari,  of  Arezzo,  a  friend  and  pupil  of  Michael 
Angelo,  relates  that  the  sculptor  once  said,  jestingly,  to 
him,  "  Giorgio,  if  I  have  anything  good  in  me,  that  comes 
from  my  birth  in  the  pure  air  of  your  country  of  Arezzo, 
and  perhaps  also  from  the  fact  that  with  the  milk  of  my 
nurse  I  sucked  in  the  chisels  and  hammers  wherewith  I 
make  my  figures." 


1475.]  MICKVEL  ANGELO  BUONAROTTI.  125 

AMieii  a  lad  twelve  or  fourteen  years  of  age  he  formed 
a  friendship  with  Francesco  Granacci,  who  was  somewhat 
younger,  and  a  pupil  of  Domenico  Ghirlandajo,  then  one 
of  the  leading  artists  of  Italy.  Granacci  supplied  his 
young  friend  with  his  master's  drawings,  thus  stimulating 
his  love  for  art,  and  sowing  the  seeds  of  which  he  reaped 
the  harvest  later  in  the  salutary  influence  which  the 
more  powerful  genius  of  ]\lichael  Angelo  exerted  upon 
his  own  style.  * 

At  the  age  of  fourteen  ]\Iichael  Angelo  w-as  placed 
with  Domenico  Ghirlandajo  as  a  pupil,  —  though  against 
the  wishes  of  his  father,  —  under  the  following  terms  of 
apprenticeship  (written  by  the  hand  of  Lodovico  in  one 
of  Domenico's  books)  :  — "  1488.  I  acknowledge  and  re- 
cord, this  first  day  of  April,  that  I,  Lodovico  di  Lionardo 
di  Buonarroti,  have  engaged  JMichelagnolo  my  son  to 
Domenico  and  David  di  Tommaso  di  Currado,  for  the 
three  years  next  to  come,  under  the  following  conditions : 
That  the  said  Michelagnolo  shall  remain  with  the  above- 
named  during  all  the  said  time,  to  the  end  that  they  may 
teach  him  to  paint  and  to  exercise  their  vocation,  and 
that  the  above-named  shall  have  full  command  over  him, 
paying  him  in  the  course  of  these  three  years  twenty-four 
florins,  as  wages,  in  the  first  six  namely,  in  the  second 
eight,  and  in  the  third  ten,  being  in  all  ninety-six  lire. 
The  above-named  !Michelagnolo  has  received  two  florins 
in  gold  this  sixteenth  day  of  April,  I,  his  father,  Lodovico 
di  Lionardo,  having  received  twelve  lire  and  twelve  soldi 
on  his  account." 

In  the  school  of  Gliirlaudajo  the  youth  soon  gave  proof 
of  his  extraordinary  ability,  surpassing  his  fellow-pu- 
pils and  astonisliing  his  master.  He  remained  for  three 
years  in  tliis  atelier,  and  though  various  stories  of  his  life 


126  SCULPTORS  OF  THE  RENAISSANCE.  [1475. 

there  are  told,  probably  but  few  facts  are  known.  The 
third  year  of  his  apprenticeship  opened  to  him  a  some- 
what wider  field  for  improvement.  Loronzo  de'  Medici, 
the  accomplished  and  art-loving  prince,  possessed  among 
his  collection  in  the  garden  of  S,  Marco  many  valuable 
remains  of  antique  art,  and,  wishing  to  promote  the  pro- 
gress of  art  in  Italy,  he  requested  Ghirlandajo  to  send 
such  pupils  as  desired  a  knowledge  of  sculpture  to  his 
collection  for  study,  promising  to  provide  for  them  while 
thus  devoting  themselves.  Michael  Angelo  and  his  friend 
Francesco  Granacci  were  selected  for  this  privilege,  and 
together  pursued  their  studies  in  the  gardens  of  S.  Marco. 
It  was  there  that  Michael  Angelo  made  his  first  attempt 
in  marble,  executing  a  copy  of  the  head  of  an  old  Faun. 
In  this  he  departed  somewhat  from  the  original,  and  prob- 
ably supplied,  according  to  his  own  fancy,  what  happened 
to  be  wanting,  as  the  work  was  much  injured.  Having 
supplied  the  mouth  with  a  full  set  of  teeth,  Lorenzo 
took  occasion  to  criticise  it  in  a  jesting  way,  saying  to 
the  young  sculptor,  "  Thou  shouldst  have  remembered 
that  old  folks  never  retain  all  their  teeth,  some  of  them 
are  always  wanting."  Believing  that  the  criticism  was 
offered  in  earnest,  and  wishing  much  to  please  his  bene- 
factor, as  soon  he  had  departed  Michael  Angelo  proceed- 
ed to  break  out  a  tooth,  and  give  the  mouth  the  requisite 
look  of  old  age.  This  highly  amused  the  prince,  so  skil- 
fully was  it  done,  and  increased  his  admiration  for  the 
boy's  talent.  So  interested  did  he  at  length  become,  that 
he  sent  for  Lodovico  and  asked  to  have  the  young  sculp- 
tor intrusted  to  his  immediate  care.  With  his  father's 
consent  he  was  received  into  the  palace,  where  he  re- 
mained until  the  death  of  Lorenzo,  in  1492.  It  was  in 
the  gardens  of  S.  Marco  that  Michael  Angelo  first  began 


1475]  MICHAEL  ANGELO  BUONAROTTI.  127 

to  ^vo^ship  the  art  of  sculpture,  which  became,  and  ever 
remained,  his  favorite.  Amoug  his  early  works  in  marble 
is  a  fine  bas-relief,  representing  the  battle  of  Hercules 
with  the  Centaurs,  now  in  the  Casa  Buonarroti  in  Flo- 
rence. 

Among  other  means  of  improvement,  jMichael  Angelo 
spent  months  in  copying  the  grand  frescos  of  Masaccio 
in  the  chapel  of  the  Carmine.  Thus,  every  opportunity 
within  his  reach  was  appropriated  by  the  aspiring  pupil. 
His  progress  awakened  not  only  the  admiration  of  his 
friemls,  but  the  envy  and  bitterness  of  rivals.  He  was 
not  of  a  conciliatory  disposition,  or  likely  to  be  patient 
under  insults ;  and  when  his  fellow-student  and  rival, 
the  quarrelsome  Torrigiano,  jeered  at  him,  he  replied  by 
a  stinging  sarcasm.  The  ruffianly  retaliation  for  this  was 
a  blow  in  the  face  which  crushed  ]\Iichael  Angelo's  nose, 
somewhat  to  his  disfigurement  for  life. 

The  death  of  Lorenzo  de'  Medici  deprived  the  young 
artist  of  a  powerful  and  generous  patron ;  and  though 
he  was  treated  with  liberality  by  the  weak-minded  son, 
Piero,  he  withdrew  from  Florence  and  went  to  Bologna 
and  to  Venice,  spending  about  a  year  in  the  former  city. 
While  there  he  executed  one  of  his  most  pleasing  works, 
the  Angel  with  the  Candelabrum,  in  the  church  of  S. 
Domenico.  It  is  a  kneeling  figure,  of  a  childlike  beauty, 
which  is  very  unlike  the  characteristics  of  his  later  pro- 
ductions. Dr.  Liiljke  says,  "  It  is,  perhaps,  the  most 
pleasing  work  whieli  lie  ever  produced,  —  the  effusion  of 
an  imaginative  youthful  mind,  scarcely  yet  come  into 
contact  witli  the  rudu  reality  of  life." 

After  this  sojourn  in  Bologna,  Michael  returned  to 
Florence,  where  he  labored  at  his  art  for  a  short  time, 
but  was  soon  invited  to  liome.     He  remained  there  only 


128  SCULPTORS  OF  THE  RENAISSANCE.  [1475. 

one  year;  but  several  commissions  were  given  him  for 
works  which  are  still  in  existence.  Among  these  is  the 
Kneeling  Cupid,  so  called,  now  in  the  South  Kensington 
Museum  in  London.  It  has  been  injured  and  restored  to 
some  extent.  A  more  celebrated  work  of  about  the  same 
date  is  the  Drunken  Bacchus,  in  the  Ufiizi  gallery  in 
Florence.  This  is  a  very  highly  finished  statue,  and  is 
admired  for  the  wonderful  skill  with  which  the  effects  of 
intoxication  are  indicated,  in  the  dreamy  expression  and 
unsteady  attitude  of  the  slender,  delicate  figure. 

Another  work  of  this  period  is  in  marked  contrast  with 
the  two  last  named,  —  one  which  for  purity  of  feeling  and 
spirituality  of  conception  must  be  placed  among  Michael 
Angelo's  masterpieces,  —  the  Piet^,  executed  also  during 
his  residence  in  Eome,  for  the  French  Cardinal  of  St. 
Denis.  The  body  of  Christ  is  sculptured  with  great  per- 
fection, and  is  of  the  most  refined  and  delicate  beauty, 
while  the  face  and  attitude  of  the  Madonna  express  the 
very  sublimity  of  sorrow  and  resignation.  It  is  in  the 
Cappella  della  Pieta,  in  St.  Peter's,  —  the  first  chapel  in 
the  south  aisle.  The  simple  beauty  and  solemnity  of  the 
group  are  marred  by  the  addition  of  two  bronze  angels 
above,  holding  a  crown  over  the  head  of  the  Madonna. 

The  Madonna  and  Child,  in  the  cathedral  of  Bruges, 
called  the  Madonna  of  Bruges,  —  a  group  of  similar 
touching  character, — is  attributed  to  Michael  Angelo,  and 
probably  with  justice,  at  least  as  regards  the  design.  It 
represents  the  Madonna,  nearly  life-size,  seated  with  the 
Child  in  her  lap,  partly  supported  by  the  folds  of  her 
drapery.  She  is  clasping  him  with  one  hand,  and  the 
other  rests  almost  listlessly  on  her  knee.  A  book  lies 
beneath  her  hand,  and  her  thoughts  are  evidently  of  the 
darkly  shadowed  future,  while  the  lovely  face  of  the  Child 


1475.]  MICHAEL  ANGELO  BUONAROTTl.  129 

seems  to  reflect,  in  a  cliildish  way,  the  deep  sadness  of 
the  mother's  aspect. 

"When  ]\Iichael  Angelo  returned  to  Florence,  he  found 
another  patron  in  Pietro  Soderini,  who  had  been  elected 
Gonfaloniere  in  1502.  By  this  ruler  he  was  employed 
both  in  sculpture  and  in  painting.  Among  his  works  in 
sculpture  of  this  period  was  the  colossal  David,  which 
occupied  him  for  a  year  and  a  half,  and  was  tinished  in 
1504.  A  statue  had  been  commenced  upon  the  block  of 
marble  from  which  the  David  was  carved,  by  another 
sculptor,  and  Michael  Angelo  was  obliged  to  accommo- 
date himself  to  the  existing  shape  of  the  marble ;  but  so 
masterly  was  the  achievement  that  the  spectator  can  only 
believe  that  the  figure  which  he  contemplates  was  the 
sculptor's  highest  ideal  of  the  shepherd  conqueror.  The 
statue  was  placed  in  front  of  the  Palazzo  Vecchio,  —  a 
position  which  was  chosen  by  Michael  Angelo  himself  at 
a  council  of  contemporary  artists,  —  where  it  remained 
exposed  to  the  perils  of  accident  and  the  injurious  effects 
of  the  weather,  till  18G2,  when  a  wooden  shelter  was  pro- 
vided for  it.  It  has  now  been  removed  to  the  Academy 
of  Fine  Arts,  and  placed  in  a  structure  erected  for  its 
reception. 

Xot  long  after  the  accession  of  Julius  11.  to  the  papal 
throne,  Michael  Angelo  was  invited  to  Rome.  The  Pope 
attracted  liim  by  such  generous  offers  that  he  was  induced 
to  accept  tlie  invitation,  to  the  great  regret  of  his  friends 
at  Florence,  and  to  the  neglect  of  various  commissions 
which  he  had  received  tliere. 

Tlie  first  work  of  importance  upon  which  he  was 
engaged  in  Itome  was  the  magnificent  design  for  the 
mausoleum  of  Pope  Julius,  —  a  work  which  was  destined 
to  occupy  the  artist  at  intervals  to  his  old  age.     The  cum- 

9 


130  SCULPTORS  OP  THE  RENAISSANCE.  [I4r5. 

brous  architecture  of  this  design  had  not  much  attractive- 
ness in  itself,  and  was  evidently  intended  to  serve  only 
as  a  frame- work  for  the  magnificent  sculptures  which 
were  to  adorn  it.  The  task  coniided  to  Michael  Angelo 
was  one  worthy  of  his  powers,  and  happily  in  accord 
with  his  tastes.  While  he  was  despatched  to  Carrara  to 
superintend  the  quarrying  and  transporting  of  the  marble 
required  for  the  monument,  Julius  decided  that  the  re- 
building of  the  Basilica  of  St.  Peter  would  be  the  only 
plan  for  providing  a  fitting  site  for  so  grand  a  work. 
Though  finally  constructed  upon  a  much  diminished  scale 
in  S.  Pietro  in  Vincoli,  some  of  the  main  features  of  the 
original  design  for  the  structure  were  preserved. 

The  work  was  begun  auspiciously,  but  soon  began  to 
suffer  long  delays.  The  interest  of  the  Pope  in  its  speedy 
completion  subsided,  and  Michael  Angelo  was  employed 
in  various  other  important  undertakings,  both  in  sculpture 
and  in  painting,  and  he  suffered  much  from  the  arbitrary 
disposition  of  his  patron.  Impatient  and  fiery  himself, 
he  was  unable  to  endure  the  discord,  and  once  left  Rome 
and  returned  to  Florence;  it  was  only  after  repeated 
efforts  that  he  was  prevailed  upon  to  return.  Pope  Julius 
had  just  expelled  the  usurping  Bentivogii  from  Bologna, 
and  one  of  the  first  commissions  given  to  the  sculptor  on 
his  return  was  a  bronze  portrait  statue  of  his  Holiness  to 
be  set  up  in  Bologna.  This  was  erected  in  1508 ;  it  was 
of  colossal  size,  the  right  hand  raised,  the  left  holding 
a  sword  and  keys.  The  Pope,  on  looking  at  the  model, 
whose  grandly  stern  aspect  can  be  imagined,  had  inquired 
whether  he  was  supposed  to  be  blessing  or  cursing  his 
people.  "  Admonishing  them  to  behave  themselves  dis- 
creetly," was  the  reply.  Before  completing  the  design,  the 
sculptor  had  asked  if  a  book  should  be  placed  in  the  left 


1475.]  MICHAEL  ANGELO  BUONAROTTI.  131 

hand  ;  and  Julius  had  rephed,  "  Put  a  sword  into  it,  —  I 
know  little  of  letters."  The  statue  was  placed  over  the 
portal  of  S.  Petronio,  but  three  years  after  it  was  de- 
stroyed by  the  people,  and  the  bronze  was  sold  to  Duke 
Alfonso  of  Ferrara,  who  cast  from  it  a  cannon  called  the 
"Julian."  The  head  was  preserved,  but,  unhappily,  is 
now  lost. 

Pope  Julius  died  in  1513,  leaving  to  his  executors  the 
care  of  constructing  his  monument  upon  a  simpler  plan 
than  the  one  at  first  designed.  A  second  contract  was 
made  between  ^lichael  Angelo  and  the  executors,  accord- 
ing to  the  modified  design,  but  the  work  was  again  re- 
peatedly interrupted,  and  was  only  completed  in  1545, 
when,  in  its  present  dwarfed  form,  it  was  erected  in  S. 
Pietro  in  A'incoli.  As  a  whole,  it  is  a  very  unsatisfactory 
work,  and  some  of  the  details  are  poor  and  insignificant. 
Its  chief  glory,  the  figure  of  Moses,  M'hicli  was  executed 
in  the  maturity  of  the  artist's  powers,  is  regarded  as  the 
most  sublime  production  of  modern  sculpture.  This  mas- 
sive form,  seated  upon  a  fragment  of  stone,  might,  at  first 
sight,  suggest  the  idea  of  repose ;  but  as  we  look,  the  fig- 
ure from  head  to  foot  becomes  alive  with  the  expression  of 
spiritual  activity,  which  is  almost  fierce  in  its  intensity. 
The  great  leader,  ordained  of  God  to  promulgate  His 
law,  has  just  descended  from  the  mount  which  burned 
with  the  Awful  Presence,  and  the  apostasy  of  his  people 
reveals  itself  to  his  astonished  gaze.  The  glance  of  the 
eye,  the  expanding  nostril,  the  contracting  muscles  of 
the  forehead,  portend  the  storm  of  indignation  which  is 
about  to  burst  upon  the  idolatrous  Israelites.  He  seems 
about  to  speak  in  a  voice  that  shall  echo  the  thunders  of 
Sinai.  Tliis  statue  was  intended  for  a  niche  in  one  of  the 
four  facades  of  the  mausoleum.  As  it  was  originally 
I 


132  SCULPTORS  OF  THE  RENAISSANCE.  [1475. 

placed  in  S.  Pietro  in  Vincoli,  it  was  partly  concealed  in 
a  niche ;  but  a  few  years  since,  under  the  direction  of 
Canova,  it  was  moved  forward,  and  placed  upon  a  higher 
pedestal. 

Upon  the  sarcophagus  above  is  a  figure  of  Pope  Julius, 
lying  in  an  uneasy  attitude,  —  the  work  of  Maso  del 
Bosco.  A  statue  of  the  Madonna,  a  prophet,  and  a  sibyl, 
and  two  female  figures  called  Active  and  Contemplative 
Life,  —  the  two  last  by  Michael  Angelo,  —  with  several 
busts,  adorn  the  sepulchre.  This  work,  in  "  the  poverty 
of  its  accomplishment "  compared  with  the  magnificence 
of  its  original  design,  is  a  sad  memorial  of  the  toil  and 
warfare  through  which  Michael  Angelo  pursued  his  favor- 
ite art,  and  of  the  disappointments  which  he  experienced 
in  such  uncommon  measure.  But,  as  has  been  said,  the 
statue  of  Moses  is  alone  sufficient  to  render  the  monu- 
ment glorious ;  and  of  the  whole  group,  the  spectator  only 
recalls  this  figure,  guarding  in  solitary  majesty  that  tomb 
of  the  Pope  whose  ashes  repose  elsewhere. 

Two  noble  figures,  executed  probably  about  1505,  called 
the  Slaves,  or  Captives,  were  originally  intended  for  the 
tomb  of  Julius  II.,  and,  according  to  Vasari,  represented 
the  provinces  subjugated  by  that  Pope,  and  brought  un- 
der obedience  to  the  Apostolic  Church.  When  the  plan 
which  '  included  these  figures  was  abandoned,  Michael 
Angelo  presented  them  to  Signor  Eoberto  Strozzi,  who 
had  nursed  him  during  an  illness,  it  is  said,  and  they 
were  afterwards  sold  to  King  Francis  T.  After  various 
changes  they  were  purchased  for  the  Louvre.  These  fig- 
ures are  grand  and  full  of  meaning;  one  is  marked  by 
the  expression  of  mental  suffering  endured  with  resigna- 
tion, while  the  other  appears  to  submit  to  his  humiliation 
with  a  gloomy  defiance.     Fine  casts  of  these  figures  are 


1475]  MICHAEL  ANGELO  BUONAROTTI.  133 

in  the  Hall  of  the  Eenaissance,  in  the  Corcoran  Gallery 
at  Washington  ;  casts  of  them  are  also  to  be  seen  in 
other  art  collections  in  this  country. 

Among  the  most  noteworthy  of  Michael  Angelo's  minor 
works  is  a  statue  of  Christ,  belonging  to  his  earlier  Eoman 
period  ;  it  was  not  quite  completed  by  his  own  hand,  but 
was  finished  by  a  Florentine  sculptor,  Federigo  Frizzi,  and 
placed  in  S.  !Maria  sopra  Minerva.  It  is  a  nude  figure, 
turning  slightly  to  the  left,  holding  a  cross  at  his  right 
side.  "Widely  differing  opinions  have  been  expressed 
with  regard  to  this  work;  probably  the  dissatisfaction 
which  is  so  common  arises  in  great  part  from  its  unlike- 
ness  to  the  traditional  type  of  form  and  features  which 
Christian  art  has  given  to  representations  of  the  Saviour. 
Charles  Heath  "Wilson,  author  of  "  Michael  Angelo  and 
his  "Works"  (London,  1876),  says:  "This  statue,  considered 
as  a  work  of  expression  and  of  religious  art,  is  in  both 

respects  without  a  parallel  in  its  irreverence If  it 

can  be  forgotten  whom  the  statue  represents,  its  value  as 
a  work  of  art  may  then  be  fully  estimated.  It  is  a  noble 
embodiment  of  beauty  and  manly  grace.  As  a  St.  Sebas- 
tian, with  the  exception  of  its  utter  nudity,  it  would  have 
been  perfect.  A  noble  figure  of  early  manhood  with  a 
look  of  glowing  triumph  on  the  face,  it  might  have 
been  brought  within  the  pale  of  Christian  art,  as  that 
saint,  or  some  other  youthful  martyr.  But  considered  as 
a  statue  of  the  Saviour,  with  all  his  sacred  associations, 
its  excellence  as  a  work  of  art  is  forgotten  in  the  sui-prise 
and  pain  with  which  it  is  necessarily  looked  on  by  every 
reverent  mind." 

Charles  Christopher  Black,  author  of  the  "  Life  and 
Labors  of  Michael  Angelo  Buonarotti"  (London,  1875), 
says :  "  The  figure,  which  is  uudraped,  stands  in  an  at- 


134  SCULPTORS  OF  THE  RENAISSANCE.  [1475. 

titude  of  much  dignity,  holding  in  his  arms  a  massive 
cross,  somewhat  raised  from  the  ground.  No  particular 
event  in  the  history  of  our  Lord  is  sought  to  be  repre- 
sented ;  we  have  simply  Him  who  died  to  save  mankind, 
holding  up,  it  may  be  as  a  warning  against  forgetfulness, 
the  instrument  of  the  sufferings  by  which  our  salvation 
was  assured.  This  single  and  grand  idea  is  to  our  minds 
magnificently  rendered.  The  features  may  not  be  of  the 
usual  type  sanctified  by  tradition,  —  when  was  Michael 
Angelo  other  than  original  ?  —  but  they  are  fully  equal 
to  any  other  representation  of  an  unapproachable  perfec- 
tion." The  statue  is  in  front  of  the  high  altar  of  S.  Maria 
sopra  Minerva,  and  recent  restorations  of  the  church  have 
consigned  it  to  darkness  almost.  The  effect  is  marred 
by  the  addition  of  bronze  drapery  about  the  middle  of 
the  figure,  and  the  right  foot  is  covered  with  brass  on 
account  of  injuries  from  the  ardent  devotions  of  the 
crowds  of  pilgrims  who  visit  it. 

Leo  X.,  the  successor  of  Julius  II.,  was  a  native  of 
Florence,  and  he  was  desirous  that  the  talents  of  his 
gifted  fellow-citizen  should  be  employed  upon  some  me- 
morial of  himself,  in  his  native  city ;  the  work  of  con- 
structing the  facade  of  S.  Lorenzo  was  therefore  intrusted 
to  Michael  Angelo.  He  prepared  the  design,  and  erected 
the  inner  fagade.  He  also  built  the  new  sacristy  of  S. 
Lorenzo,  the  crypt  of  which  contains  his  famous  tombs 
of  the  Medici.  Upon  these  he  was  occupied,  with  many 
interruptions,  from  about  1521  until  1534,  and  they  were 
finally  left  incomplete  in  some  parts.  The  sculptor  was 
obliged  to  submit  to  the  most  trying  dictation,  and  to 
tedious  delays  in  his  work,  —  at  times  forced  to  leave  his 
professional  pursuits  and  engage  in  the  work  of  quarrying 
marble,  and  in  other  unworthy  tasks.     The  chapel  con- 


1475]  MICHAEL  ANGELO  BUONAROTTI.  135 

taining  the  mausoleums  is  quadrangular,  and  entered  from 
the  south  transept  of  the  church.  Upon  the  right  is 
the  tomb  of  Giuliano  de'  Medici,  Duke  of  Nemours,  the 
younger  son  of  Lorenzo  the  Magnificent ;  opposite  is  that 
of  Lorenzo  de'  ]\Iedici,  Duke  of  Urbino,  grandson  of  Lo- 
renzo the  j\Lagnificent.  In  these  master-works  there  is 
nothing  conventional;  they  are  conceived  and  executed 
with  the  utmost  freedom,  and  with  the  marked  originality 
of  Michael  Angelo's  genius.  The  sculptures  seem  quite 
independent  of  their  architectural  framework,  and  there 
is  much  valueless  criticism  expended  upon  the  unfitness 
of  the  structures  for  the  statues  which  they  support. 

There  is  nothing  in  the  history  of  Lorenzo  and  Giuliano 
de'  Medici  that  gives  any  clew  to  the  meaning  with  which 
the  two  statues  are  invested,  and  it  is  evident  that  no 
real  personages  occupied  the  mind  of  the  artist  when  he 
conceived  these  sublime  figures.  The  statue  which  sur- 
mounts the  tomb  of  Lorenzo  has  been  named  II  Pensiero, 
and  it  was  indeed  a  thought  which  Michael  Angelo 
evoked  from  the  formless  stone.  The  sombre  figure  ex- 
presses in  its  attitude  and  air  a  silence  so  deep  as  to  be 
awful ;  and  yet  it  gives  not  the  faintest  hint  of  mental 
rest  or  peace.  The  peculiar  helmet  which  shadows  the 
face  adds  to  the  solemn  and  mysterious  air  of  the  figure. 
Below,  upon  the  sides  of  the  sloping  lids  of  the  sarcopha- 
gus, two  giant  figures,  called  Dawn  and  Evening,  are 
reclining. 

The  fifjure  above  the  tomb  of  Giuliano  is  in  marked 
contrast  with  the  other,  but  is  of  an  equally  ideal  character. 
Upon  the  sarcophagus  are  also  two  figures,  called  Pay 
and  Xight;  the  latter,  a  female  figure,  representing  most 
touchingly  the  deep  sleep  of  exhaustion  and  forgetful ness. 
The   gloomy  accessories  are  a  tragic    mask,  —  the  owl, 


136  SCULPTORS  OF  THE  RENAISSANCE.  [1475. 

the  poppy.  The  companion  figure  is  one  of  incarnate 
strength,  —  a  giant  rousing  from  his  slumbers.  It  is  not 
unlikely  that  the  grief  and  gloom  of  the  artist  at  the  loss 
of  freedom  for  his  beloved  Florence  found  utterance  in 
these  sculptures.  "Few  can  contemplate  the  four  mighty 
statues  which  adorn  these  two  sarcophagi,  without  an  in- 
nate consciousness  that  they  are  gazing  upon  the  products 
of  loftiest  thought  and  that  to  a  proper  comprehension 
of  their  greatness  a  preliminary  feeling  of  reverence  is 
essential.  The  critics  who  complain  of  the  immeasurable 
strength  in  the  figure  of  Day,  who  find  the  awful  figure 
of  Night  overwrought  and  unfeminine,  and  proclaim  as 
a  great  discovery,  that  the  whole  series  are  far  too  heavy 
for  the  coffers  to  which  they  are  af&xed,  need  not  be 
reasoned  with,  but  passed  over.  They  belong  to  the  class 
who  doubt  whether  Ajax  could  really  lift  a  stone  tasking 
the  powers  of  ten  degenerate  men  of  modern  days,  or 
carefully  calculate  the  latitude  and  longitude  of  Prospero's 
enchanted  island."  * 

For  the  same  chapel  of  S.  Lorenzo,  Michael  Angelo 
designed  a  group  of  the  Madonna  and  Child ;  the  execu- 
tion is  said  to  be  by  his  pupils ;  the  work  is  unfinished. 

In  the  cathedral  of  Florence,  behind  the  high  altar,  is 
an  unfinished  group  representing  the  Dead  Christ,  the 
two  Marys,  and  Joseph  of  Arimathea,  executed  from  a 
single  block  of  marble.  The  fact  that  it  is  unfinished  is 
not  in  this  case  due  to  the  interference  of  others,  but  to  a 
flaw  in  the  marble.  It  is  a  work  of  his  old  age,  under- 
taken, according  to  Vasari,  for  the  reason  that  "  the  use 
of  the  hammer  kept  him  in  health."  For  many  years  it 
remained  in  the  sculpture-room  of  the  chapel  of  S.  Lo- 
renzo, but  in  1722  it  was  placed  behind  the  high  altar  of 
the  cathedral. 

*  Charles  Christopher  Black. 


1475]  MICHAEL  AXGELO  BUONAROTTL  137 

lu  the  Uffizi  Gallery  are  several  unfinished  works  in 
marble,  and  some  small  sculptures  by  the  master  are  pre- 
served in  the  Casa  Buonarroti. 

^lichael  Angelo  was  very  eminent  as  an  architect,  and 
designed  various  churches,  palaces,  and  other  edifices. 
He  was  for  many  years  the  architect  of  St.  Peter's,  and  to 
his  genius  its  magnificent  dome  is  due.  The  Laurentian 
Library  in  Florence  is  regarded  as  a  fine  example  of  his 
architectural  skill.  He  also  executed  at  different  periods 
important  engineering  works.  During  the  existence  of 
the  liepublic  of  Florence,  he  was  employed  in  rebuilding 
the  fortifications  of  the  city.  Very  interesting  drawings 
relating  to  his  labors  in  this  department  are  to  be  seen 
in  the  Casa  Buonarroti. 

It  would  be  impossible  to  give  an  account  of  the  works 
of  Michael  Angelo,  in  either  sculpture  or  painting,  in 
chronological  order,  in  consequence  of  the  interruptions 
and  delays  with  which  he  had  to  contend,  from  first  to 
last.  The  disappointments  and  vexations  which  beset 
him  in  his  career  as  an  artist  were  supplemented  by  the 
harassing  importunities  of  thriftless  and  selfish  relatives. 
Naturally  of  a  proud  and  impetuous  temper,  he  was  pecu- 
liarly susceptiltle  to  the  in-itation  of  unreasonable  demands 
and  weak  interference,  and  he  sometimes  exhibited  the 
most  violent  anger,  in  wliicli  he  did  not  spare  even  the 
unoffending ;  but  in  the  records  of  his  private  life,  and  in 
his  letters  and  other  writings,  the  noble  and  gentle  traits 
of  character  l)y  fiir  preponderate.  An  anecdote  is  related 
by  Armeniiii,  —  an  artist  who  was  contemporary  with  Mi- 
chael Angelo,  and  author  of  Vcri  PrcccUi  ddlarittuni,  — 
which  illustrates  bis  gratitude  and  kindness  of  heart,  as 
well  a.s  his  marvellous  power  of  conception  and  execution. 
"Meeting  one  day,  behind  S.  Tietro,  with  a  young  Ferra- 


138  SCULPTORS  OF  THE  RENAISSANCE.  [1475. 

rese,  a  potter  who  had  baked  some  model  of  his,  M.  Angelo 
thauked  him  for  his  care,  and  in  return  offered  him  any 
service  in  his  power.  The  young  man,  emboldened  by  his 
condescension,  fetched  a  sheet  of  paper  and  requested 
him  to  draw  the  figure  of  a  standing  Hercules.  M.  An- 
gelo took  the  paper,  and,  retiring  to  a  small  shed  near  by, 
put  his  right  foot  on  a  bench,  and,  with  his  elbow  on  the 
raised  knee,  and  his  face  on  his  hand,  stood  meditating 
a  little  while,  then  began  to  draw  the  figure,  and,  having 
finished  it  in  a  short  time,  beckoned  to  the  youth,  who 
stood  waiting  at  a  small  distance,  to  approach,  gave  it  to 
him,  and  went  away  toward  Belvedere.  That  design,  as 
far  as  I  was  then  able  to  judge,  in  precision  of  outline, 
shadow,  and  finish,  no  miniature  could  excel :  it  afforded 
matter  of  astonishment  to  see  accomplished  in  a  few  min- 
utes what  might  have  been  reasonably  supposed  to  have 
taken  up  the  labor  of  a  month." 

Probably  the  brightest  period  in  the  life  of  Michael 
Angelo  was  that  in  which  he  enjoyed  the  friendship  of 
Vittoria  Colonna.  She  was  one  of  the  most  beautiful 
and  talented  women  of  the  brilliant  age  in  which  she 
lived,  and  she  was  not  less  distinguished  for  her  virtues. 
She  was  the  daughter  of  Fabrizio  Colonna,  Grand  Consta- 
ble of  Naples,  and  was  born  in  1490.  When  four  years 
old  she  was  betrothed  to  Ferdinando  d'  Avalos,  Marquis 
of  Pescara,  of  the  same  age,  to  whom  she  was  married  at 
the  age  of  seventeen.  Her  husband  became  a  celebrated 
general,  and  died  in  1525  from  wounds  received  at  the 
battle  of  Pavia.  Vittoria  was  childless,  and  after  her 
husband's  death  she  sought  consolation  in  retirement,  and 
in  the  cultivation  of  her  poetic  talent.  In  1536  she  re- 
moved from  Naples  and  took  up  her  residence  in  Rome, 
where  her  acquaintance  with  Michael  Angelo  began,  and 


1475.]  micil\j:l  ANGELO  BUONAROTTI.  139 

rapidly  ripened  into  the  most  intimate  and  enduring 
friendship.  The  sculptor,  already  more  than  sixty  years 
old,  cannot  be  regarded  as  the  lover  of  this  -widow  of 
forty-six,  who  was  devoted  to  the  memory  of  her  husband; 
but  their  attraction  was  certainly  mutual,  and  the  delight 
that  each  found  in  the  society  of  the  other  arose,  not  only 
from  the  congeniality  of  their  minds,  but  from  a  deep  and 
pure  affection.  The  gi-ave,  stern  nature  of  the  sculptor 
found  in  the  companionship  and  affection  of  this  woman 
its  complement  and  its  embeUishraent.  For  a  few  years 
her  society  and  correspondence  brightened  his  sombre 
life,  and  her  death,  in  1547,  caused  him  the  deepest 
sorrow  he  had  ever  known. 

Michael  Augelo  was  a  dutiful  and  affectionate  son  and 
brother,  though  often  sorely  tried  by  the  selfish  exactions 
of  liis  family  ;  and  to  his  home  in  Florence  he  was  most 
strongly  attached.  He  wrote  to  his  brother  Buonarroto, 
from  Bologna,  where  he  was  engaged  for  many  months 
upon  the  bronze  statue  of  Pope  Julius  :  "  I  remain  here 
with  the  greatest  inconvenience  and  extreme  fatigue,  and 
I  think  of  nothing  but  my  work  day  and  night,  and  I 
have  suffered  so  much  labor  and  fatigue  that,  had  I  to 
make  another,  I  do  not  think  my  life  would  last  me,  for 
it  has  been  an  immense  undertaking,  which,  if  given  into 
the  hands  of  another,  he  would  have  succeeded  but  badly 
in.  But  I  consider  that  the  prayers  of  some  person  have 
helped  me,  and  kept  my  judgment  sound,  for  it  was 
against  the  opinion  of  the  whole  of  Bologna  that  I  could 
ever  liave  conducted  the  work.  After  the  casting,  and 
even  Ijefore,  there  was  no  one  who  believed  me  capable 
of  ever  ca.sting  it.  It  is  enougli  for  me  that  I  have  con- 
ducted my  work  to  a  good  end,  but  I  shall  not  have  en- 
tirely finished  it  this  month  as  I  had  thought,  but  in  the 


140  SCULPTORS  OF  THE  RENAISSANCE.  [i475. 

next  it  will  certainly  be  finished  and  I  shall  return." 
Again  he  writes :  "  I  live  in  great  anxiety  and  extreme 
bodily  fatigue ;  I  have  no  friends  of  any  sort,  and  wish 
for  none." 

To  his  father  he  wrote  from  Eome  :  — 

"  Deakest  Father,  —  I  have  had  a  letter  from  you  to- 
day, September  the  5th,  which  gave  and  still  gives  me 
great  anxiety,  as  it  tells  me  that  Buonarroto  is  ill.  I  beg 
of  you,  as  soon  as  you  have  read  this,  to  let  me  know  how 
he  is,  because,  if  he  is  really  very  ill,  I  will  come  by  the 
post  to  you  during  the  ensuing  week,  although  this  would 
be  the  greatest  hindrance  to  me,  —  for  this  reason,  that 
I  am  to  be  paid  five  hundred  ducats  when  I  have  earned 
them ;  this  is  the  agreement  I  have  made  with  the  Pope, 
and  as  many  more  he  will  give  me  when  I  have  begun 
another  part  of  my  work.  But  he  has  gone  from  here, 
leaving  me  no  orders  whatever,  so  that  I  find  myself 
without  money,  nor  do  I  know  what  to  do  if  I  go  away. 
I  should  not  like  him  to  despise  me  and  lose  me  my  earn- 
ings, in  which  case  I  should  be  badly  off.  1  have  written 
him  a  letter,  and  am  waiting  the  answer.  Yet  if  Buo- 
narroto be  in  danger  let  me  know  of  it,  because  I  shall 
leave  everything.  Make  arrangements  for  his  comfort, 
and  do  not  let  him  want  for  money  to  help  him. 

"  Your  MiCHELAGNiOLO,  Sculptor  in  Eome." 

In  another  letter  to  his  father  he  writes  :  "  There  are 
certain  ducats  in  small  coin,  which  I  wrote  to  you  about, 
that  you  should  claim  them.  If  you  have  not  taken 
them,  ask  for  them  at  your  leisure,  and  if  you  have  need 
of  more,  take  just  what  you  may  require,  for  as  much  as 
you  want  so  much  will  I  give  you,  even  should  you  spend 
all.     And  if  it  be  necessary  that  I  should  write  to  the 


1475]  MICILVEL  ANGELO  BUONAROTTI.  141 

governor  of  the  hospital  let  me  know.  I  have  heard  from 
your  last  how  aflairs  are  going  on.  I  am  anxious  about 
them.  I  cannot  help  you  in  any  other  way,  but  do  not, 
on  this  account,  alarm  yourself,  and  do  not  give  your- 
self an  ounce  of  melancholy.  Because,  if  goods  are  lost, 
life  is  not  lost.  I  will  do  so  much  for  you  that  it  will  be 
more  than  what  you  may  now  lose.  r)ut  do  not  look  for- 
ward to  it  too  much,  as  it  may  fail.  Nevertheless,  do 
your  best,  and  thank  God  that  as  this  sorrow  had  to  come, 
it  came  in  a  time  when  you  wore  better  able  to  help 
yourself  than  in  times  jxist.  Think  only  of  your  life, 
and  sooner  let  the  things  go  than  suffer  inconvenience, 
for  it  is  more  precious  to  me  to  have  you  alive  and  poor 
than  all  the  gold  of  the  world  if  you  were  dead." 

Among  his  letters  written  in  old  age  is  the  following  to 
his  friend  Giorgio  Yasari,  in  reply  to  the  announcement 
that  a  son  had  been  born  to  his  nephew  Leonardo,  and 
christened  Buonarroto.  "  ]\Iy  dear  friend  Giorgio,  —  I 
have  felt  much  pleasure  in  reading  your  last,  seeing  that 
you  still  remember  the  poor  old  man,  and  also  because 
you  were  present  at  the  triumph  of  which  you  \vrite,  and 
have  seen  the  birth  of  another  Buonarroto.  For  this  in- 
telligence I  thank  you  as  much  as  I  can  or  may,  although 
I  am  displeased  by  so  much  pomp,  seeing  tliat  no  man 
should  laugh  when  the  whole  world  is  in  tears.  I  think, 
too,  that  Leonardo  should  not  rejoice  so  much  over  the 
birth  of  one  who  is  but  beginning  to  live ;  such  joy 
should  be  reserved  fur  the  death  of  one  who  has  lived 
well." 

In  155G,  the  faithful  Urbino,  who  had  been  for  many 
years  the  servant  and  companion  of  the  lonely  old  man, 
was  taken  away  from  him  by  death,  and  he  wrote  to 
Vasari :  "  I  have  had  him  twenty-six  years,  liave  ever 


142  SCULPTORS  OF  THE  RENAISSANCE.  [1475. 

found  him  singularly  faithful,  and  now  that  I  had  made 
him  rich,  and  hoped  to  have  in  him  the  staff  and  support 
of  my  old  age,  he  has  disappeared  from  my  sight ;  nor  have 
I  'now  left  any  other  hope  than  that  of  rejoining  him  in 
Paradise.  But  of  this  God  has  given  me  a  foretaste,  in 
the  most  blessed  death  that  he  has  died ;  his  own  de- 
parture did  not  grieve  him,  as  did  the  leaving  me  in  this 
treacherous  world,  with  so  many  troubles.  Truly  is  the 
best  part  of  my  being  gone  with  him,  nor  is  anything 
now  left  me  except  an  infinite  sorrow." 

After  the  death  of  this  faithful  servant  and  friend,  the 
old  master  sought  rest  and  consolation  in  a  sojourn 
among  the  mountains  of  Spoleto,  where  he  enjoyed  the 
tranquil  society  of  the  hermits,  finding  the  peace  and  re- 
pose which  he  could  find  nowhere  but  in  the  solitudes  of 
nature.  He  wrote :  "  I  have  in  these  last  days  under- 
taken a  visit  in  the  mountains  of  Spoleto,  to  the  hermits 
abiding  there,  at  great  cost  of  labor  and  money,  but  also 
to  my  great  pleasure,  insomuch  that  I  have  returned  to 
Eome  with  but  half  my  heart,  for  of  a  truth  one  finds  no 
peace  or  quiet  like  that  of  those  woods." 

His  last  years  were  spent  in  Eome,  and  his  labors  in 
his  favorite  art  continued  unremitting  to  the  last.  A 
friend  once,  referring  to  his  habit  of  constant  work,  re- 
marked that  the  thought  of  death  must  be  very  unwel- 
come. "  By  no  means,"  the  old  sculptor  replied,  —  "  for 
if  life  be  a  pleasure,  yet,  since  death  also  is  sent  by  the 
hand  of  the  same  Master,  neither  should  that  displease 
us."  He  died  in  1564,  having  nearly  completed  his 
eighty-ninth  year.  One  of  his  last  requests  was  that  his 
remains  might  be  laid  beside  those  of  his  relatives  in 
his  beloved  Florence.  Near  the  close  of  the  last  day  of 
his  life  he  said  to  the  friends  about  him,  *'  I  give  my  soul 


147&]  MICHAEL  ANGELO  BUONAROTTI.  143 

to  God,  my  body  to  the  earth,  my  wordly  goods  to  my 
nearest  relations  "  ;  and  added,  "  When  dying,  my  friends, 
remember  the  suflerings  of  Jesus  Christ  borne  for  us." 
Great  honors  were  paid  to  his  memory  in  Rome,  and  his 
remains  were  deposited  for  a  time  in  S.S.  Apostoli,  where 
a  cenotaph  has  been  placed ;  they  were  subsequently  re- 
moved to  Florence  and  interred,  with  solemn  ceremonies, 
in  Santa  Croce. 


GIO VAN-FRANCESCO    RUSTICI. 

alOVAX-lTtANCESCO  TtUSTICI  was  born  in  Flo- 
rence about  1476.  He  was  of  noble  birth,  and 
devoted  himself  to  sculpture  from  love  of  the  art.  He 
was  a  pupil  of  Andrea  Verocchio,  and  fellow-pupil  with 
Leonardo  da  Vinci ;  he  afterwards  attached  himself  to 
Leonardo,  whom  he  served  with  faithfulness  and  affec- 
tion, and  by  whom  he  appears  to  have  been  much  be- 
loved. Something  of  the  great  master's  spirit  animates 
the  creations  of  Rustici ;  among  other  things  he  acquired 
Leonardo's  method  in  the  delineation  of  horses,  in  which 
he  took  great  delight,  copying  them  in  every  possible 
manner,  and  in  all  sorts  of  materials.  His  love  for  ani- 
mals was  excessive  :  he  deliglited  in  tliem,  and  in  reptiles 
even,  which  only  aroused  feelings  of  horror  or  repulsion 
in  others. 

The  principal  work  of  Rustici  is  a  bronze  group  repre- 
.senting  the  Rreacliing  of  St.  John  the  I>aptist,  consisting 
of  a  stJitue  of  St.  Jolni,  a  Rliarisee,  an<l  a  Sadducee,  larger 
than  life  ;  the  two  last  are  listening  in  most  expressive 
attitudes.     It  is  said  that  these  figures  were  executed  ac- 


144  SCULPTORS  OF  THE  KENAISSANCE.  [i476. 

cording  to  the  designs  of  Leonardo  da  Vinci.  This  group 
ranks  among  the  most  excellent  of  modern  sculptures.  It 
is  above  the  northern  door  of  the  Baptistery  at  Florence. 
The  work  was  executed  by  order  of  the  merchants'  guild 
of  Florence,  and  during  its  execution  the  artist  was 
obliged  to  sell  an  estate  belonging  to  his  inheritance  to 
meet  his  necessary  expenses.  But  when  the  group  was 
finished,  to  the  admiration  of  all  who  saw  it,  Eustici's 
well-earned  recompense  was  disputed,  and  he  was  allowed 
but  one  fifth  of  the  sum  to  which  he  was  entitled. 

Various  productions  by  this  artist  mentioned  by  Vasari 
have  disappeared. 

In  consequence  of  civil  commotions  Rustici  left  Flo- 
rence in  1528,  and  went  to  the  court  of  France,  where  he 
was  employed  by  Francis  I.  upon  the  works  at  Fontaine- 
bleau.  He  was  engaged  upon  a  model  for  the  equestrian 
statue  of  King  Francis,  but  after  the  death  of  that  mon- 
arch the  work  was  laid  aside. 

Eustici  was  a  man  of  upright  life,  of  great  kindness  of 
heart,  and  was  especially  charitable  to  the  needy.  He 
experienced  many  vicissitudes  of  fortune,  but  Vasari  tells 
us  that  in  his  old  age  he  was  cared  for  "  as  befitted  his 
condition  and  merits,"  —  and  adds,  "  It  is  not  to  be 
questioned,  being  true  above  all  other  truth,  that  even  in 
this  life,  the  good  that  we  do  to  our  neighbor  for  the  love 
of  God  is  often  restored  to  us  by  twice  a  thousand-fold." 

Eustici  died  in  France  in  1550. 


1477]  JACOPO  SAXSOVINO.  145 


JACOPO    SANSOVINO. 

JACOrO  TATTI,  surnunieJ  Sansovixo  after  his  mas- 
ter, Audrea  Sausoviuo,  was  bom  in  Florence  in 
1477.  He  was  the  son  of  Antonio  Tatti,  who  belonged  to 
a  family  of  honorable  position  and  character,  which  was 
especially  favored  by  the  Medici.  In  his  early  years  Ja- 
copo  was  sent  to  school  where,  though  he  displayed  much 
intelligence  in  learning,  he  jireferred  the  study  of  design 
to  that  of  letters,  and  was  finally  permitted  to  enter  upon 
the  study  of  sculpture  with  xVndrea  Sansovino,  then  the 
best  sculptor  and  architect  of  the  time,  though  his  young 
pupil  was  destined  greatly  to  surpass  him.  The  rela- 
tions of  the  two  came  to  be  like  that  of  father  and  son ; 
instead  of  awakening  feelings  of  jealousy,  the  superior  tal- 
ents of  Jacopo  seemed  only  to  increase  the  attachment 
of  liis  teacher. 

Having  formed  an  acquaintance  with  Giuliano  Sangallo, 
architect  to  Julius  11.,  Jacopo  was  by  him  taken  to  liome, 
where  he  was  noticed  by  Bramante  and  other  eminent 
artists,  as  well  as  by  Pope  Julius.  It  is  probable  that  he 
was  instructed  in  architecture  by  Sangallo.  He  made  a 
careful  .study  of  the  antique  statuary  in  Eome,  among 
other  tilings  making  a  copy  of  the  Laocoon  group,  which 
was  afterwards  cast  in  bronze.  He  returned  to  Florence 
in  1511,  and  was  occupied  with  various  productions  in 
sculpture,  which  brought  him  much  fame.  He  again 
went  to  liome,  where  he  was  for  a  time  employed  in 
architectural  Morks.  The  taking  of  lioiiui  by  Constable 
Bourbon  drove  Sansovino  from  the  city,  and  he  took 
up  his  abode  in  \''eiiice,  wliere  he  was  retained  by  the 
Doge  Andrea  Gritti,  for  whom  he  undertook  important 

10 


146  SCULPTORS  OE  THE  RENAISSANCE.  [1477. 

works  in  architecture  and  sculpture.  He  liked  weU  his 
home  in  the  Venetian  Eepublic  ;  though  urged  to  return 
to  Florence,  and  to  Eome,  and  invited  to  Ferrara,  his  re- 
ply to  all  solicitations  was,  "  Having  the  good  fortune  to 
reside  in  a  republic,  it  would  be  madness  to  go  and  live 
under  an  absolute  prince." 

For  forty  years  Jacopo  resided  in  Venice,  and  his 
genius  stamped  itself  upon  the  sculpture  and  architecture 
of  the  period.  Among  his  sculptures  are  those  in  the 
church  of  S.  Marco,  some  of  which  are  of  high  excellence. 
For  the  choir  he  executed  bronze  reliefs,  illustrating 
legends  from  the  life  of  St.  Mark ;  and  he  made  the 
bronze  gate  of  the  sacristy,  which  is  a  magnificent  piece 
of  work,  embellished  with  scenes  from  the  life  of  Christ 
in  relief.  These  are  highly  picturesque  in  style,  and 
sometimes  the  dignity  of  the  subject  is  a  little  compro- 
mised. Upon  the  breastwork  in  front  of  the  high  altar  in 
this  church  he  made  bronze  statuettes  of  the  four  Evan- 
gelists. The  small  bronze  gate  to  the  altar  of  the  sacra- 
ment he  adorned  with  a  relief  of  Christ  surrounded  by 
Angels. 

In  the  church  of  S.  Maria  dei  Frari,  upon  the  baptis- 
mal font,  is  a  small  seated  figure  of  St.  John  the  Baptist, 
which  is  admirable  for  its  expression  of  tender  feeliug. 
The  monument  of  the  Doge  Francesco  Venier  in  S.  Sal- 
vatore  is  one  of  his  late  works,  and  of  great  excellence. 
The  portrait  of  the  Doge  is  very  dignified,  and  the  struc- 
ture is  adorned  with  symbolical  statues,  those  of  Hope 
and  Love  by  the  master. 

The  two  famous  statues  of  Mars  and  Neptune  that 
guard  the  grand  staircase  of  the  Doge's  palace  are  by 
Jacopo.  These  colossal  marble  figures  give  the  name  of 
Scala  dei  Giganti  to  the  stairs. 


1477]  JACOPO  SANSOVINO.  147 

The  architectural  works  of  Jacopo  Sansovino  are  re- 
markable for  grace  and  elegance.  His  most  celebrated 
work  in  this  department  is  the  Library  of  S.  Marco,  one 
of  the  finest  secular  edifices  in  Italy. 

In  the  delineation  of  women  and  of  children  this  artist 
could  scarcely  be  surpassed ;  sweetness  of  expression  and 
grace  of  form  are  characteristics  of  his  women,  and  the 
figures  of  Ids  children  are  of  the  soft  roundness  of  nature 
itself. 

Jacopo  was  much  esteemed  for  his  personal  qualities, 
as  well  as  fur  his  artistic  genius.  He  was  a  man  of  trutli 
and  honor,  and,  tliough  violent  in  his  anger,  was  most 
susceptible  to  kindness  and  gentleness.  To  his  relatives 
he  was  so  dcA'oted  as  to  deprive  himself  of  enjoyments 
for  the  sake  of  assisting  them.  He  was  so  highly  es- 
teemed in  Venice  that,  when  an  extraordinary  tax  was 
raised  by  the  Senate,  he  and  the  painter  Titian  were  alone 
exempted.     He  died  in  1570. 


ALONSO    BERRUGUETB. 

ALONSO  BERRUGUETE,  an  important  Spanish 
sculptor,  was  bom  in  1480.  He  went  when 
young  to  Italy,  and  remained  for  many  years  studying 
in  Itonie  and  Florence.  It  is  said  tliat  he  studied  under 
Michael  Angelo,  and  assisted  him  in  various  works  ex- 
ecuted for  Julius  II.  Returning  at  length  to  his  native 
country,  lie  executed  many  ini])()rtant  works  in  the  style 
of  tlie  Italiiin  art  of  the  period.  Among  tliem  may  be 
noted,  as  excellent  exaiiijiles,  the  reliefs  in  the  choir  of 
the  cathedral  at  Toledo;  and  the  monument  of  the  Car- 


148  SCULPTORS  OF  THE  RENAISSANCE.  [i480. 

dinal  and  Grand  Inquisitor  Don  Juan  de  Tavera,  in  the 
church  of  the  Hospital  of  S.  Juan  in  Toledo.  The  sar- 
cophagus upon  which  the  figure  of  the  deceased  reposes 
is  ornamented  with  scenes  in  relief  from  the  life  of  St. 
John  the  Baptist. 

Berruguete  also  practised  painting  and  architecture. 
He  was  made  court  painter  and  sculptor  to  Charles  V. 
The  Italian  style  which  he  introduced  into  Spain  was 
adopted  by  his  pupils,  and  his  school  is  of  considerable 
importance  in  Spanish  art  history.  Among  his  pupils 
was  EsTEBAN  Jordan,  who  showed  in  his  productions  a 
strong  inclination  towards  the  style  of  Michael  Angelo. 
Another  pupil,  Gregorio  Hernandez,  is  especially  dis- 
tinguished for  grandeur  of  expression,  and  for  the  beauty 
of  his  nude  figures.     Berruguete  died  in  1561. 


BACCIO    BANDINELLI. 

BACCIO  BANDINELLI,  the  son  of  a  Florentine 
goldsmith,  was  born  in  1487.  He  was  named 
Bartolommeo,  but  was  always  called  by  the  diminutive 
Baccio.  He  was  a  talented  youth,  and,  taught  the  ele- 
ments of  design  by  his  father  and  afterwards  instructed 
by  one  of  the  best  sculptors  of  the  time,  he  became  emi- 
nent in  his  profession.  He  also  became  noted  for  being 
vain,  quarrelsome,  and  dishonest.  The  productions  of 
Michael  Angelo  awakened  a  powerful  ambition  in  the 
mind  of  this  artist,  and  he  desired  to  set  himself  up  as  a 
rival  of  his  celebrated  and  talented  countryman.  He 
even  turned  his  attention  to  painting ;  but  his  labors  in 
this  direction  were  not  greatly  successful,  though  he  was 
an  excellent  designer. 


1487]  BACCIO  BANDINELLI.  149 

Among  the  most  important  of  his  works  in  sculpture  is 
the  marble  group  of  Hercules  and  Cacus,  at  the  entrance 
to  the  Palazzo  Vecchio  in  Florence.  Michael  Angelo 
was  fii*st  commissioned  to  execute  a  group  for  the  place, 
but,  being  obliged  by  other  important  engagements  to 
defer  the  work,  the  commission  was  transferred  to  Bandi- 
nelli.  It  is  said  that  the  block  of  marble  destined  for  the 
group  fell  into  the  Arno  on  its  way  to  Florence,  which 
gave  rise  to  the  joke  that  it  attempted  to  drown  itself 
rather  than  submit  to  be  chiselled  by  the  hands  of  Ban- 
dinelli.  The  wax  model  which  Michael  Angelo  made  for 
his  intended  work  is  now  in  the  South  Kensington  Mu- 
seum. It  appears  to  represent  Samson  fighting  the  Phi- 
listines. 

Liibke  characterizes  the  group  by  Bandinelli  as  an 
"  empty,  ostentatious  work."  The  same  writer  says : 
"  The  only  tolemble  work  of  this  intolerable  artist  is  the 
marble  choir  screen  in  the  cathedral,  which  he  executed 
in  the  latter  part  of  his  life,  with  the  aid  of  his  pupils 
and  assistants.  It  is  adorned  with  eighty-eight  figures  of 
apostles,  prophets,  and  saints,  in  very  shallow  relief,  most 
of  them  in  a  sim])le  and  distinct  style,  displaying  ex- 
cellent adaptati(jn  to  the  space,  and  some  of  them  in 
unconsti-ained,  and  even  noble  attitudes;  on  the  whole, 
however,  they  produce  a  very  monotonous  effect."  In 
the  opinion  of  Wcstmacott  (the  younger),  "  The  fault  of  his 
composition  generally,  whether  of  one  or  several  figures, 
is  in  its  too  picturesque  arrangement,  and  in  his  placing 
his  figures  in  somewhat  forced  and  affected  attitudes." 

His  statues  of  Adam  and  Eve  are  in  the  Palazzo  Vec- 
chio, but  they  are  inferior.  His  bas-reliefs  are  his  best 
])roductions ;  .sonu;  of  those  in  the  Florentine  cathedral 
have  been  engravc<l  by  Iliiphael  Morghcn. 


150  SCULPTORS  OF  THE  RENAISSANCE.  [i487. 

He  died  in  1559,  and  was  buried  in  a  chapel  of  the 
church  of  the  Servites  in  Florence,  where  his  tomb  is  to 
be  seen  ;  upon  it  are  the  portraits  of  himself  and  his  wife 
in  relief. 

Among  the  most  noted  pupils  of  Baccio  BandineUi  was 
Giovanni  dell'  Opera,  or  more  properly  Bandini,  who 
assisted  his  master  in  some  of  his  works,  and  who  was 
one  of  the  sculptors  of  the  monument  of  Michael  Angelo 
in  S.  Croce.  The  statue  of  Architecture  is  by  the  hand 
of  Giovanni ;  the  statue  of  Sculpture  is  by  Valerio  Cioli, 
a  Florentine  sculptor;  and  that  of  Painting,  by  Bat- 
TISTA  LoRENZi,  another  distinguished  pupil  of  BandineUi. 
Lorenzi  also  executed  the  bust  of  Michael  Angelo,  which 
adorns  the  tomb ;  it  is  considered  a  very  faithful  likeness. 
Of  the  three  allegorical  statues  that  of  Architecture  by 
Giovanni  dell'  Opera  is  the  finest. 


ALFONSO    LOMBARDI. 

ALFONSO  LOMBAEDI,  or,  more  properly,  Alfonso 
CiTTADELLi,  was  bom  at  Lucca  in  1488.  He  first 
became  distinguished  for  his  medallion  portraits  in  wax, 
plaster,  and  terra-cotta.  Later  he  worked  in  marble.  In 
the  nobleness  and  beauty  of  his  heads  he  has  scarcely 
been  surpassed.  His  early  works  are  marked  by  the  nat- 
uralism predominant  in  the  fifteenth  century,  sometimes 
to  a  very  repulsive  degree  ;  but  later  productions  exhibit 
a  purer  influence,  and  his  best  works  are  in  a  style  of 
comparative  dignity  and  beauty.  One  of  the  most  beau- 
tiful productions  of  his  early  period  is  a  marble  relief, 
adorning  one  of  the  altars  in  the  cathedral  at  Cesena, 


1488]  ALFONSO  L03IBAJIDI.  151 

representing  St.  Leonhanl,  St.  Eustachius,  and  St.  Christo- 
pher, with  the  Infant  Christ.  "  In  the  centre  is  St.  Leon- 
harcl  in  the  monk's  cowl,  which  falls  down  in  large  simply 
arranged  masses,  and  holding  a  chain  with  which  he  is 
raising  his  right  hand.  A  thick  curling  beard  encircles 
the  beautiful  head.  To  the  left  is  St.  Christopher,  with 
the  lovely  Infant  Christ,  who  is  playing  with  his  full 
beard.  He  is  represented  in  an  advancing  attitude,  the 
short  light  garment  leaving  the  powerful  and  beautifully 
formed  thigh  almost  free  ;  his  hand  is  resting  on  the  rude 
stem  of  a  tree.  On  the  right  is  St.  Eustachius,  in  the 
attire  of  a  Roman  warrior,  rather  indicated  than  fully  de- 
tailed ;  the  upper  part  of  the  figure  is  bare  and  the  arms 
are  naked,  and  the  mantle  has  fallen  down  over  the  shoul- 
ders in  rather  elegant  than  grand  folds.  The  head  is 
charming  in  its  youthful  splendor,  and  is  surrounded  with 
long  curls  ;  in  form  and  expression  it  calls  to  mind  the 
splendid  heads  of  Sodoma,  and  is  one  of  the  most  exqui- 
site creations  of  this  golden  age.  The  artist  of  these  three 
figur&s  still  adheres,  in  the  fine  and  careful  treatment  of 
the  drapery,  which  affords  an  effective  contrast  to  the 
simple  monkish  habit  of  St.  Leonhard,  to  the  tradition  of 
the  fifteenth  century  ;  but  the  figures,  in  their  vigorous  or- 
ganization, mature  and  beautiful  forms,  and  perfect  under- 
standing of  structure,  give  the  impression  of  an  art  which 
hail  arrived  at  the  lieight  of  perfection."  * 

Alfonso  Lombardi  was  in  Bologna  at  the  time  of  the 
coronation  of  Charles  V.,  and  was  employed  to  execute  the 
decorations  upon  the  triumphal  arch  which  was  placed 
before  the  entrance  to  S.  Tetronio.  These  works  won 
much  favor  for  the  artist.  Some  of  the  decorations  of 
the   facade  of   S.    Petronio   are    by   his   hand ;   namely, 

•  Dr.  I.iibkc. 


152  SCULPTORS  OF  THE  RENAISSANCE.  [i488. 

those  which  represent  the  Fall  of  Man,  the  Annunciation, 
and  the  Eesurrection  of  Christ ;  also,  the  relief  from  the 
history  of  Moses.  In  S.  Domenico  in  Bologna  he  ex- 
ecuted a  graceful  marble  relief  upon  the  base  of  the  sar- 
cophagus of  S.  Domenico,  illustrating  incidents  in  the  life 
of  the  saint.  In  the  Hall  of  Hercules,  in  the  Palazzo  Pub- 
blico  at  Bologna,  is  a  colossal  figure  of  Hercules  with  the 
Hydra,  by  this  sculptor. 

Vasari  says  of  Alfonso,  that  in  his  later  time  he  exer- 
cised his  art  chiefly  for  his  own  gratification.  He  was 
attractive  in  person,  but  his  vanity  rendered  him  ex- 
tremely unpopular.     He  died  in  1537. 


GIOVANNI    DA    NOLA. 

alOVANNI  DA  NOLA,  or,  more  correctly,  Giovanni 
Merliano,  was  born  near  Naples  in  1488.  He 
was  a  leading  master  in  the  Neapolitan  school  of  art,  and 
has  left  numerous  works  of  excellence,  though  not  much 
of  his  personal  history  is  now  to  be  learned.  Most  of  his 
works  are  to  be  seen  at  Naples.  Among  his  earliest  pro- 
ductions is  the  monument  of  the  three  brothers  Sanseve- 
rini,  in  the  chapel  which  bears  their  name  in  S.  Severino. 
One  of  his  finest  works  is  the  tomb  of  Don  Pedro  di 
Toledo,  back  of  the  high  altar  of  S.  Giacomo  degli  Spag- 
nuoli.  Upon  the  base  are  carefully  wrought  bas-reliefs 
representing  the  achievements  of  the  viceroy ;  at  the 
corners  are  figures  of  the  Virtues  ;  upon  the  sarcophagus 
are  statues  of  the  deceased  and  his  wife.  The  high  altar 
of  S.  Lorenzo  is  another  fine  work  by  Nola.  The  church 
of  S.  Domenico  contains  several  monimients  by  this  sculp- 


148&]  GIOVANNI  DA  NOLA.  153 

tor  ;  also  a  statue  of  St.  Jolm,  and  a  beautiful  high  relief, 
with  statues  of  the  Virgin  and  saints.     He  died  in  1558. 
GiROLAMO  San'Tacroce,  a  sculptor  of  the  same  period, 
was  also  a  leader  in  the  Xeapolitan  school  of  art,  and  the 
two  artists  sometimes  labored  in  competition. 


ANTONIO    BEGARELLI. 

ANTONIO  BEGARELLI,  caUed  also  Antonio  da 
MODENA,  was  an  eminent  designer  and  modeller, 
born  at  Modena  in  1499.  He  was  associated  with  Cor- 
reggio  in  the  decoration  of  the  cathedral  at  Parma,  and, 
it  is  said,  made  the  models  fron  which  Correggio  painted 
many  of  his  floating  figures.  The  style  of  the  two  mas- 
ters, as  regards  the  grace  and  beauty  of  their  figures,  is 
similar. 

At  Modena,  in  a  chapel  of  the  church  of  S.  Francesco, 
Begarelli  executed  a  large  composition  in  terra-cotta,  rep- 
resenting the  Descent  from  the  Cross.  Mr.  Perkins  says  of 
this  work  :  "  By  far  the  most  striking  feature  in  tlie  com- 
position is  the  central  group  of  women,  one  of.  whom  sup- 
ports the  head,  while  the  other  two  hold  up  the  drooping 
hands  of  the  Virgin,  whose  attitude  is  one  of  complete 
aljandonment,  and  wliose  f\ice  wears  that  expression  of 
suffering  wliicli  the  features  sometimes  retain  while  con- 
sciousness is  suspended.  Had  this  group  been  painted 
l)y  Correggio,  it  would  have  ranked  as  a  masterpiece  ; 
but  owing  to  its  Ihittering  and  complicated  draperies,  and 
the  hasty  action  of  tlie  women,  who  seem  to  have  turned 
from  tlie  Crucified  just  in  time  to  receive  the  fainting 
form  f>f  his  mother,  it  is  bad  in  scul])ture." 


154  SCULPTORS  OF  THE  RENAISSANCE.  [i499. 

In  the  nave  of  the  church  of  S.  Pietro  are  six  statues 
by  Begarelli,  and  in  the  chapel  at  the  left  of  the  choir  is 
a  (^roup  in  terra-cotta  representing  the  Virgin  and  saints 
bewailing  the  dead  Christ.  It  exhibits  nobleness  of  con- 
ception, and  the  individual  figures  are  grand  and  beauti- 
ful. We  are  told  that  Michael  Angelo  exclaimed,  on 
viewing  this  group,  "  If  this  clay  were  marble,  alas  for 
the  antique  statues  ! " 

This  master  taught  design  and  modelling,  and  his 
influence  upon  the  art  of  his  time  must  have  been  con- 
siderable.    He  died  in  1565. 


JEAN    JUSTE. 

JEAN  JUSTE,  a  native  of  Tours,  was  an  excellent 
French  sculptor,  who  flourished  in  the  early  part  of 
the  sixteenth  century.  His  works  are  characterized  by 
truth  of  expression,  tenderness  of  feeling,  and  graceful 
execution. 

His  most  celebrated  work  is  the  monument  of  Louis 
XII.  and  Ms  wife,  Queen  Anne  of  Bretagne,  in  the 
church  of  St.  Denis,  executed  about  1520.  It  is  of  white 
marble,  and  richly  decorated.  The  king  and  queen  are 
twice  represented  upon  the  monument;  below  they  are 
lying  outstretched  in  death,  and  above  they  are  kneeling 
in  prayer.  The  recumbent  figures  are  characterized  by 
the  most  vivid  and  terrible  truth,  while  the  others  are 
invested  with  all  the  charm  of  life  and  feeling.  The 
monument  is  surrounded  by  twelve  highly  decorated 
arches,  beneath  which  are  statues  of  the  twelve  apostles. 
Upon  the  pedestal  are  reliefs  representing  the  entry  of 


15....]  JEAN  JUSTE.  155 

Louis  XII.  into  Milan,  in  1497 ;  liis  passage  of  the  Geno- 
ese mountains,  and  his  victory  over  the  Venetians  at 
Agnadello,  in  1507. 

A  monument  to  the  children  of  Charles  VIII.  and 
Anne  of  Bretagne,  in  the  cathedral  of  Tours,  is  also  the 
work  of  this  master.  It  is  of  marble,  of  beautiful  design 
and  tinish.  "  On  the  lid,  the  most  lovely  and  innocent 
pair  of  children  are  calmly  represented  side  by  side.  The 
smaller  one  is  holding  his  little  hands  under  the  ermine 
mantle,  the  elder  is  laying  his  hands  piously  one  over 
the  other.  The  drapery,  the  fine  countenances  with  their 
crisp  curls  and  soft  eyelids,  are  all  exquisitely  tender. 
Two  charming  angels  full  of  heartfelt  devotion  are  kneel- 
ing in  prayer  at  the  head."  * 

Jean  Juste  is  supposed  to  have  died  about  1534 
Juste  le  Juste,  brother  of  the  preceding,  was  also  a 
sculptor,  and  is  said  to  have  labored  in  conjunction  with 
his  more  gifted  brother. 


BENVENUTO    CELLINI. 

BEXVEXUTO  CELLIXI  was  bora  in  Florence,  in 
1500.  He  was  sculptor,  founder,  and  engraver  on 
stone  and  metal  He  devoted  himself  at  first  to  learning 
music,  in  accordance  with  his  father's  wishes ;  but  having 
a  strong  love  for  art,  he  was  afterwards  allowed  to  follow 
his  inclinations,  and  very  early  produced  works  which 
were  greatly  admired.  Cellini  was  patronized  by  the 
Church,  and,  Ijcing  an  excellent  engraver  of  medals,  was 
appointed  by  Clement  VII.  engraver  for  tlie  mint. 

At  Florence  he  executed  for  Cosimo  de'  Medici  one  of 

•  Dr.  Lubkc. 


156  SCULPTORS  OF  THE  RENAISSANCE.  [i500. 

his  most  admired  works,  —  a  bronze  figure  of  Perseus, 
holding  the  head  of  Medusa  and  standing  upon  her  body, 
—  now  in  the  Loggia  de'  Lanzi.  It  is  full  of  life  and 
vigor,  yet  simple  in  expression.  The  pedestal  is  adorned 
with  small  statues  and  sculptures  in  relief,  relating  to  the 
story  of  Perseus.  Cicognara  regards  the  figure  of  Perseus 
as  too  robust;  he  thinks  it  should  partake  more  of  the 
character  of  Apollo,  and  less  of  that  of  Hercules.  M. 
Taine  says :  "  This  Perseus  is  brother  to  the  Discobolus, 
and  has  had  his  actual  anatomical  model :  his  knees  are 
a  little  heavy,  and  the  veins  of  the  arms  are  too  promi- 
nent; the  blood  spouting  from  Medusa's  neck  forms  a 
gross,  full  jet,  the  exact  imitation  of  a  decapitation.  But 
what  wonderful  fidelity  to  nature  !  The  woman  is  really 
dead;  her  limbs  and  joints  have  suddenly  become  relaxed; 
the  arm  hangs  languidly ;  the  body  is  contorted,  and  the 
leg  drawn  up  in  agony.  Underneath  on  the  pedestal, 
amidst  garlands  of  flowers,  and  goat's  heads,  in  shell- 
shaped  niches  of  the  purest  and  most  elegant  taste,  stand 
four  exquisite  bronze  statuettes,  with  all  the  living  nudity 
of  the  antique." 

Cellini  went  to  France  at  the  invitation  of  Francis  I., 
and  while  there  he  sculptured  the  Nymph  of  Fontaine- 
bleau,  —  a  bronze  work  in  high  relief,  which  is  now  in 
the  Louvre.  It  represents  a  nude  figure  of  colossal  size, 
and  with  limbs  of  excessive  length,  in  a  half-recumbent 
position,  resting  upon  one  arm,  while  the  other  is  round 
the  neck  of  a  stag.     It  is  of  very  delicate  execution. 

At  Windsor  Castle  is  a  shield  of  remarkable  elegance 
of  design  and  workmanship,  which  is  attributed  to  Cel- 
lini, and  probably  with  justice.  His  small  works  were 
greatly  admired,  and  ornamental  articles  attributed  to 
him  are  often  met  with. 


1500.]  BENVENUTO  CELLINI.  157 

Cellini's  life  was  full  of  adventure,  and  Lis  personal 
character  was  less  admirable  than  his  genius.  He  left  a 
voluminous  and  curious  biography,  —  "Vita  di  B.  Cellini," 
1720,  —  which  has  been  translated  into  English,  French, 
and  German.  It  is  full  of  egotism  and  bombastic  ac- 
counts of  the  author's  exploits.  He  also  wrote  treatises 
upon  sculpture,  jewelry,  and  the  casting  of  bronze.  He 
died  at  Florence  in  1570,  and  was  buried  with  pomp  in 
the  church  of  the  Annunziata. 


FRA  GIOVANNI   ANGELO   MONTORSOLI. 

FRA  GIOVAXXI  ANGELO  MONTORSOLI,  sculp- 
tor and  architect,  was  born  at  Montorsoli,  near  Flo- 
rence, about  1500.  As  he  early  evinced  an  inclination 
for  designing,  he  was  placed  under  the  instruction  of 
stone-carvers  in  the  quarries  at  Ficsole,  where  he  became 
quite  skilful  in  the  use  of  sculptor's  tools.  He  was  after- 
wards placed  with  the  Tuscan  master,  Andrea  da  Fiesole, 
under  whose  instruction  he  remained  for  three  years.  At 
the  end  of  this  period,  his  father  having  died,  he  set  out 
for  Rome  with  a  company  of  young  scidptors,  to  find  em- 
ployment in  the  works  then  going  forward  in  that  city. 
According  to  Va.sari,  he  was  first  employed  in  St.  Peter's, 
carving  "  several  of  those  rosettes  which  are  in  the  great 
cornice  that  pa.sses  entirely  around  the  church,  which  he 
did  to  his  great  advantage,  receiving  good  pay  for  tlie 
same." 

As  an  independent  artist,  he  was  employed  at  Rome, 
Perugia,   and  Vcjlterra ;    and  wliili;   still  very  young    ho 


158  SCULPTORS  OF  THE  RENAISSANCE.  [1500. 

became  the  assistant  of  Michael  Augelo,  who  was  then 
employed  upon  the  church  of  S.  Lorenzo  in  Florence. 

In  1530  Montorsoli  took  the  monastic  habit  among  the 
Servites  in  the  monastery  of  the  Annunziata  at  Florence. 
He  was,  however,  recalled  to  Eome  by  Pope  Clement 
VII.,  in  order  to  restore  some  of  the  mutilated  monuments 
of  antique  sculpture.  He  was  also  employed  in  artistic 
labors  in  Naples,  Genoa,  and  other  Italian  cities.  As  an 
example  of  his  facility,  Vasari  tells  us  that,  during  his 
travels,  he  on  one  occasion  repaired  to  Budrione,  where 
his  brethren  were  holding  a  general  chapter  of  their 
order ;  and  in  a  day  and  night  modelled  two  life-size 
figures  representing  Faith  and  Charity,  which  served  to 
ornament  a  fountain  improvised  for  the  occasion.  "  Tliis 
fountain,"  says  Vasari,  "  continued  to  throw  water  during 
the  whole  of  the  day  on  which  the  chapter  was  held,  to 
the  great  honor  and  glory  of  the  Frate." 

At  Genoa,  Montorsoli  remodelled  the  interior  of  the 
church  of  S.  Matteo,  and  adorned  it  with  fine  sculptures. 
This  is  probably  his  most  important  work.  The  crypt 
he  adorned  with  stucco  reliefs,  and  constructed  in  it  the 
tomb  of  Andrea  Doria.  He  also  restored  the  Palazzo  dei 
Principi  Doria. 

At  Messina,  Montorsoli  erected  a  magnificent  fountain 
on  the  piazza  of  the  cathedral.  It  is  of  elaborate  design, 
and  is  adorned  with  a  great  number  of  mythological  and 
allegorical  figures,  the  latter  representing  the  Nile,  the 
Ebro,  the  Tiber,  and  the  brook  Camaro,  near  Messina. 

According  to  Vasari  this  artist  died  in  1563.  He  had 
bestowed  his  fortune  upon  the  society  of  artists  in  Flo- 
rence called  the  Compagnia  di  S.  Luca,  now  the  Academy 
of  Florence. 


15M.]  PROSPERO  CLEMENTI.  159 


PROSPERO    CLEMENTI. 

PROSPERO  CLEMENTI,  or,  more  correctly,  Spaxi. 
an  eminent  Italian  sculptor,  was  born  at  Eeggio 
about  l."')04.  "We  are  told  that  he  was  taught  the  prin- 
ciples of  art  by  his  grandfather,  who  was  considered  one 
of  the  ablest  sculptors  of  his  time.  It  has  been  said  that 
Clemeuti  was  a  pupil  of  ^lichael  Angelo ;  and  though 
there  is  some  doubt  of  this,  he  was  certainly  an  imitator 
of  the  great  master's  style. 

The  gi'eater  number  of  his  works  are  to  be  seen  in 
his  native  town  of  Eeggio.  In  the  cathedral  are  several 
monuments  and  statues  by  him.  For  the  principal  en- 
trance to  the  cathedral,  he  executed  colossal  statues  of 
Adam  and  Eve;  various  other  statues  w^hich  adorn  the 
fa(;ade  are  by  his  pupils.  The  finest  of  the  monuments 
is  that  of  Ugo  Eangoni,  Bishop  of  Eeggio ;  it  was  exe- 
cuted about  1561,  and  is  considerd  the  master-work  of 
the  artist. 

In  the  cathedral  of  Parma,  the  principal  altar  is  the 
work  of  Clementi ;  his  fine  monument  of  the  jurist  Prati 
is  to  be  seen  in  the  cry]")t.  In  the  cathedral  at  Mantua 
is  the  tomb  of  Andreasi,  Bishop  of  Mantua,  executed  by 
Clementi  in  1551. 

This  artist's  works  are  remarkable  for  correctness 
of  design,  and  for  an  exquisite  beauty  of  conception. 
He  has  Ijeen  called  "  the  Correggio  of  sculpture,"  on 
account  r^f  tlie  grace  of  form  which  characterizes  his 
productions. 

He  died  in  1584.  His  tomb  is  in  a  chapel  of  the 
cathedral  at  Ilr-ggio,  where  is  to  be  seen  a  fine  bust  of  the 
sculptor,  executed  by  his  pupil,  Bacchione. 


160  SCULPTORS  OF  THE  RENAISSANCE.  [i5io. 


GIROLAMO    LOMBARDO. 

alROLAMO  LOMBARDO,  Italian  sculptor,  was  born 
at  Ferrara  about  1510.  He  studied  under  Andrea 
Contucci  (Sansovino),  and  in  conjunction  with  another 
artist  completed  work  which  that  master  left  unfinished 
at  his  death. 

In  sculpture  Girolamo  adhered  to  the  principles  of  a 
more  fortunate  period  of  art  than  his  own,  which  secured 
a  noble  style  of  composition;  his  works  were  also  dis- 
tinguished for  a  delicate  and  tasteful  execution.  He  was 
one  of  the  best  of  the  artists  who  assisted  in  the  execu- 
tion of  the  sculptures  of  the  Santa  Casa  at  Loreto.  He 
resided  in  the  adjacent  town  of  Eecanati,  where  he  estab- 
lished a  foundry  for  the  casting  of  his  works  in  bronze. 

The  four  gates  of  the  Santa  Casa  are  the  work  of  this 
sculptor.  Each  gate  consists  of  two  compartments,  in 
which  are  represented  scenes  from  the  life  of  Christ.  He 
designed  the  principal  door  of  the  church  at  Loreto,  but 
the  execution  was  by  his  four  sons.  The  Madonna  and 
Child  above  the  principal  door  is  by  Girolamo's  own 
hand,  and  is  said  to  be  his  last  work.  He  is  supposed 
to  have  died  about  1560. 


BARTOLOMMEO    AMMANATI. 

BARTOLOMMEO  AMMANATI,  or  Amanato,  Ital- 
ian sculptor  and  architect,  was  born  at  Florence 
in  1511.  He  studied  under  Baccio  Bandinelli  and  San- 
sovino, and  came  to  be  highly  esteemed  in  his  time  as  a 
sculptor,  though  he  is  more  eminent  as  an  architect.     In 


ifiii]  BARTOLOMMEO  AMMANATI.  161 

sculpture  he  imitated  Michael  Angelo  to  some  extent. 
He  labored  at  Florence,  Naples,  and  Rome,  both  as  sculp- 
tor and  architect.  Among  his  productions  in  sculpture 
is  the  monument  of  Cardinal  de'  Monti,  in  S.  Pietro  in 
Montorio  in  Eome.  In  the  Eremitani  at  Padua  is  an- 
other sepulchral  monument  by  Ammanati,  —  that  of  Be- 
uavides,  the  scholar  and  professor  of  law.  It  is  a  huge 
structure.  Liibke  says  :  "  To  what  a  vainglorious  style 
sculpture  at  this  period  condescended  may  be  seen  in 
the  monument  wliich  the  scholar  Marco  Mantova  Bena- 
vides  ordered  Ammanati  to  erect  to  liim  during  his  life- 
time (154G),  in  the  Eremitani  at  I'adua.  Below  are 
Knowledge  and  Weariness,  then  Honor  and  Fame,  and 
above  Immortality,  accompanied  by  two  other  Genii.  If 
an}'thing  indicates  the  decline  of  art,  it  is  such  empty 
and  boastful  allegories.  AVhat  a  cleft  separates  this 
monument  from  the  noble  tombs  of  the  earlier  period, 
where  the  deceased,  under  the  guardianship  of  the  Ma- 
donna and  his  patron  saints,  passes  slumberingly  into  a 
better  life ! " 

In  Florence  Ammanati  rebuilt  the  Ponte  SS.  Trinity, 
in  a  handsome  and  substantial  manner.  He  adorned  its 
parapets  with  statues  of  the  Seasons.  He  designed  the 
wings  and  court  of  the  Pitti  Palace,  and  tlie  liucellai 
Palace.  Among  liis  architectural  works  in  Ptome  is  the 
faf;ade  of  tlie  CoUegio  Ptomano.  He  died  in  1589,  and 
was  buried  in  8.  Giovannino,  belonging  to  the  Padri  delle 
Scuole  Pie.  He  hatl  in  1580  remodelled  this  church,  and 
to  the  society  he  bequeathed  his  property.  The  wife  oi 
Ammanati,  Laura  I>attiferri  of  Urbino,  was  distinguished 
for  her  poetical  talent  and  other  accomplishments. 


11 


162  SCULPTORS  OF  THE  RENAISSANCE.  [i5i2. 


FRA  GUGLIELMO  DELLA  PORTA. 

FEA  GUGLIELMO  DELLA  PORTA,  called  MILA- 
ISTESE,  was  a  distinguished  Italian  sculptor,  born 
about  1512.  He  was  a  nephew  of  Giacoma  della  Porta, 
an  eminent  architect  of  Milan  who  labored  extensively 
in  Rome  during  the  latter  half  of  the  sixteenth  century ; 
among  other  works,  erecting  the  cupola  of  St.  Peter's 
after  the  designs  of  Michael  Angelo. 

Guglielmo  studied  the  elements  of  design  with  his  uncle, 
and  afterwards  went  to  Genoa  and  became  the  pupil  of 
the  painter,  Pierino  del  Vaga.  It  is  said  that  he  assisted 
his  master  in  the  decorations  of  the  Doria  palace.  Later 
he  went  to  Rome,  and  practised  sculpture,  becoming  a 
follower  of  the  style  of  Michael  Angelo,  by  whom  he  was 
much  esteemed.  When  the  Farnese  Hercules  was  dis- 
covered, Guglielmo  was  intrusted  with  the  restoration  of 
the  legs,  which  task  he  performed  in  so  masterly  a  manner 
that,  when  the  original  limbs  were  discovered,  Michael 
Angelo  preferred  to  let  the  statue  remain  as  it  was.  The 
original  limbs  were,  however,  restored  when  the  statue 
was  removed  to  Naples. 

About  1550  this  artist  was  commissioned  to  execute 
the  monument  of  Pope  Paul  III.  to  be  placed  in  the  Trib- 
une of  St.  Peter's.  The  statue  of  the  Pope  is  a  bronze 
fifTure  of  dignified  mien,  seated  with  hand  extended  in 
blessing.  Figures  of  Justice  and  Prudence  are  lying 
upon  the  sarcophagus,  suggesting  the  figures  upon  the 
Medici  tomb  in  Florence.  The  statues  of  Peace  and 
Abundance  which  belonged  to  the  monument  are  now  in 
the  Farnese  palace. 

While  in  Genoa,  it  is  said  that  Guglielmo  was  so  much 


lOl]  FRA  GUGLLELMO  DELLA  PORTA.  103 

esteemed  by  his  master,  Pierino  del  Vaga,  that  he  offered 
the  young  artist  his  daughter  in  marriage ;  but  the  ofter 
was  declined,  as  CJugHehiio  liad  determined  to  enter  the 
priesthood.  In  liome  he  became  intimately  attached  to 
Sebastian  del  Pioml)o,  and  at  the  death  of  the  latter  lie 
was  appointed  to  the  office  of  Keeper  of  the  Seal.  He 
died  about  1577. 


PIERINO    DA    VINCI. 

PIEPJXO  DA  VINCI,  nephew  of  Leonardo  da  Vinci, 
was  a  promising  sculptor,  born  in  the  early  part  of 
the  sixteenth  century,  who  died  in  early  life  leaving  but 
few  finished  works.  These  few^,  however,  serve  to  indicate 
what  his  genius  might  have  accomplishod  in  its  full 
development. 

Pierino  was  the  son  of  Bartolommeo,  a  younger  brother 
of  Leonardo.  We  are  told  by  Vasari  that  Bartolommeo, 
who  had  married  one  of  the  best-born  maidens  of  the  Cas- 
tello  di  Vinci,  "  was  exceedingly  desirous  of  a  male  child, 
and  frequently  described  to  his  wife  the  greatness  of  that 
genius  with  which  his  brother,  Leonardo,  had  been  en- 
dowed ;  wherefure  she  prayed  God  that  he  would  make 
her  worthy  to  be  the  mother  of  a  second  Leonardo,  and 
that  by  her  means  a  successor  might  be  presented  to  the 
family,  he  being  now  dead.  Some  time  afterwards,  and 
when,  according  to  his  desire,  there  was  bom  to  Bartolom- 
meo a  graceful  little  son,  he  was  minded  to  give  the  child 
the  name  of  Leonardo,  but  being  advised  by  his  kindred 
to  choose  that  of  his  own  father  instead,  he  consented  to 
give  the  boy  the  name  of  Piero."     And  sd  he  was  called 


164  SCULPTORS  OF  THE  RENAISSANCE.  [i52.. 

Pierino,  —  little  Piero.  He  grew  up  possessed  of  great 
beauty  and  intelligence,  and  early  evinced  a  taste  for  art 
by  drawing  and  modelling  small  figures  in  clay.  Bar- 
tolommeo  believed  that  his  brother  had  been  restored  to 
him  in  the  person  of  his  sou ;  and  when  he  had  arrived 
at  the  proper  age,  he  was  taken  to  Florence  to  be  in- 
structed in  art.  His  progress  was  remarkable,  and,  his 
productions  becoming  known  and  admired,  he  was  called 
//  Vinci,  for  the  sake  of  his  connection  with  Leonardo, 
and  for  his  resemblance,  through  his  genius,  to  that  dis- 
tinguished artist. 

He  studied  with  Tribolo,  and  later  went  to  Eome,  where 
it  is  said  he  received  instruction  from  Michael  Angelo, 
and  became  an  enthusiastic  imitator  of  that  great  mas- 
ter. A  bronze  relief,  by  Pierino,  representing  the  death 
of  Count  Ugolino  and  his  sons,  has  been  attributed  to 
Michael  Angelo.  It  is  in  the  palace  of  the  Conte  della 
Gherardesca  in  Florence.  He  executed  a  marble  relief 
representing  the  Eestoration  of  Pisa  by  Duke  Cosimo, 
which  is  now  in  the  Vatican. 

A  small  relief  in  marble  by  him,  representing  the  Ma- 
donna and  Child,  St.  Elizabeth,  and  St.  John,  is  now  in 
the  Uffizi  Gallery  in  Florence. 

During  a  visit  to  Genoa,  II  Vinci  was  attacked  by  a 
violent  fever.  Longing  to  reach  his  home,  he  set  out  for 
Leghorn  by  sea,  and  thence  was  conveyed  to  Pisa,  where 
he  died,  worn  out  with  fever  and  fatigue,  not  yet  having 
completed  his  twenty-third  year. 

Luca  Martini,  a  poet  of  the  time,  and  a  devoted  friend 
of  the  young  artist,  wrote  a  sonnet  to  his  memory,  in 
which  he  laments  the  early  death  of  "  tlie  second  Vinci," 
which  event  rendered  "  heaven  more  rich,  and  sculpture 
less  beautiful." 


laao?]  GERMAIN  PILON.  165 


GERMAIN     PILON. 

GEE:MAIX  riLOX  was  born  at  Louo,  a  small  village 
near  ^lans.  The  date  of  his  birth  is  not  known 
with  certainty,  —  it  has  been  given  as  1520  and  as  1515. 
Germain  Pilon  and  Jean  Goujon  have  each  an  important 
share  in  the  restoration  of  French  sculpture.  In  their 
works  the  inspiration  of  Italian  art  was  exhibited  in  a 
marked  degree.  Pilon  was  instructed  in  the  elements  of 
art  by  his  father,  a  sculptor  of  small  reputation ;  and 
about  1550  went  to  Paris,  where  he  was  extensively  em- 
ployed. 

His  principal  work  is  the  monument  of  Henry  II.  and 
Catherine  de'  Medici  erected  in  the  Church  of  St.  Denis, 
wliich  occupied  the  artist  from  1564  to  1583. 

Another  celebrated  w^ork,  ordered  by  Catherine  de' 
Medici,  is  a  group  of  three  Nvomen  supporting  a  vase, 
wliich  it  is  said  was  intended  to  contain  tlie  hearts  of 
Henry  II.  and  Catherine  de'  Medici.  This  monumental 
curiosity  is  known  by  the  name  of  the  Three  Graces,  but 
there  has  been  much  controversy  in  the  endeavor  to  decide 
whether  it  represents  the  Graces  attendant  upon  the  god- 
dess of  Love,  or  the  Theological  Virtues.  "  They  are  stiff 
figures,  the  extreme  slenderness  of  which  is  not,  as  in 
Goujon's  works,  moderated  by  graceful  lines  and  fine  ex- 
pression ;  the  drapery  is  arlntrarily  arranged,  and  is  full 
of  paltry  mannerism.  The  three  females  are  represented 
standing  close  together,  their  hands  touching  as  if  for  a 
dance.  On  their  heads,  the  hair  of  which  is  elegantly 
dressed  (grazicuscmcnt  coijfe'es,  as  the  French  say),  they 

originally  bore  the  heart  of  Henry  II.  in  an  uni It 

has  teen  tried  to  explain  the  Tliree  Graces  as  the  IMvine 
Virtu(!S.    This,  however,  is  contradicted  by  the  inscription, 


166  SCULPTORS  OF  THE  RENAISSANCE.  [i5207 

which  states  that  the  Graces  justly  bore  this  heart,  their 
former  abode,  upon  their  heads.  A  second  distich  asserts, 
no  less  truthfully,  that  the  Queen  would  rather  conceal 
this  heart  in  her  bosom.  With  the  same  truthfulness, 
Diana  of  Poitiers  says  on  the  monument  of  her  husband, 
'  As  once  she  was  an  inseparable  and  true  wife  on  earth, 
she  will  one  day  be  so  also  in  the  grave.'  The  Latin  lan- 
guage was  an  excellent  channel  for  such  monumental 
audacities.  But  with  falsity  of  this  kind  how  was  art  to 
remain  genuine  and  truthful?"* 

This  work  is  now  in  the  Louvre.  In  the  same  gallery 
are  also  the  remains  of  the  double  mausoleum  of  Een4 
de  Birague  (or  Birago),  and  his  wife,  Valentine  Balbiani. 
Birague,  the  man  who,  Michelet  said,  was  "  so  impatient 
to  become  a  cardinal  that  he  suddenly  became  a  wid- 
ower," was  during  the  latter  part  of  his  life  Chancellor  of 
France.  Upon  one  tomb  is  the  bronze  figure  of  the  Chan- 
cellor, in  long  robes,  kneeling  in  the  attitude  of  prayer. 
Upon  the  other  is  the  marble  figure  of  his  wife,  lying  in 
a  careless  attitude,  reading,  with  a  lapdog  near  her.  A 
bas-relief  upon  the  front  of  the  base  of  the  monument 
represents  the  same  figure,  but  emaciated  and  lifeless. 

In  portrait  sculpture  this  artist  was  very  successful. 

The  date  of  Pilon's  death  is  not  known,  but  it  probably 
occurred  about  1590. 


PAOLO    PONZIO    TREBATTI. 

PAOLO  PONZIO  TEEBATTI,  sometimes  called  Mai- 
TRE  Ponce,  flourished  about  the  middle  of  the  six- 
teenth century.  He  was  a  native  of  Florence,  but  went 
to  France  with  Primaticcio,  and  remained  there.     He  is 

*  Dr.  Liibke. 


15...]        PAOLO  PONZIO  TREBATTI.        167 

supposed  to  be  identical  with  the  often-mentioned  artist 
Ponce  Jacquio.  He  was  first  employed  at  ]\Ieudon,  and 
afterwards  at  Fontaiuebleau,  executing  many  of  the  sculp- 
tures which  adorn  the  palace  there. 

In  the  Louvre  are  two  monuments  executed  by  Tre- 
batti,  —  that  of  Prince  Albert  of  Savoy,  Duke  of  Carpi, 
one  of  the  generals  of  Francis  L,  and  tliat  of  Charles  de 
^Ligny,  or  ^NLiignc,  Captain  of  the  Watch  under  Henry  II. 
A  portrait  figure  of  the  former  in  bronze  is  leaning  upon 
one  elbow  in  an  attitude  of  repose,  looking  meditatively 
upon  an  open  book.  A  statue  of  the  latter,  a  portrait  in 
stone,  is  clad  in  mail,  sleeping  in  a  sitting  posture,  hal- 
berd in  hand.  Yiardot  says,  "  These  two  figures  by 
Trebatti  give  us  a  very  high  opinion  of  the  Frenchified 
Italian,  who  has  been  much  lauded  for  the  boldness  of 
his  style,  and  to  whom  many  of  the  best  works  of  other 
artists  have  been  attributed." 

From  1559  to  1571  this  sculptor  was  engaged  upon  the 
royal  monuments  of  St.  Denis.  His  labors  in  France 
extended  over  a  period  of  nearly  forty  years. 


JEAN    DE    BOLOGNA. 

J  FAX  DE  BOLOGXA,  also  known  in  history  as 
Giovanni  da  Bologna,  was  born  at  Douai  in  Flan- 
ders, in  1524.  He  early  went  to  Italy,  where  he  lived  for 
many  years.     In  Florence  he  is  called  Giam-Bologna. 

This  artist  chose  tlie  works  of  Michael  Angelo  as  his 
cliief  models ;  a  story  is  told  that  he  once  presented 
Michael  Angelo  a  very  finely  finished  work  in  plaster, 
and  that  the  old  master  demolished  it  witli  a  blow  ex- 


168  SCULPTORS  OF  THE  RENAISSANCE.  [i524 

claiming,  "Young  man,  learn  to  use  the  chisel  before 
finisliing."  This  artist's  figures  are  criticised  as  too  gen- 
eral in  character,  though  they  exhibit  boldness  of  attitude, 
and  a  degree  of  freshness  and  beauty.  He  accomplished 
a  great  amount  of  work,  and  the  greater  portion  of  his 
sculptures  are  in  Italy. 

His  master-piece  is  the  Flying  Mercury,  now  in  the 
Uffizi  Gallery  in  Florence.  It  is  a  marvel  of  lightness 
and  graceful  poise.  The  airy  messenger  of  the  gods  rests 
one  foot  upon  a  zephyr,  as  he  is  about  to  spring  away. 
It  is  sculptured  with  great  freedom  and  boldness,  yet 
every  line  is  one  of  beauty  and  grace ;  it  has  been  com- 
pared with  the  finest  models  of  antiquity.  The  work  has 
been  often  copied. 

Another  fine  work  is  the  fountain  in  the  Piazza  Net- 
tuno  in  Bologna.  Upon  the  summit  is  a  grand  figure  of 
Neptune  grasping  his  trident;  at  the  corners  of  the  basin 
are  seated  four  figures  of  lifelike,  merry  children,  and  at 
the  base  of  the  structure  are  the  figures  of  four  sirens. 
In  the  Boboli  Gardens  in  Florence  is  a  beautiful  fountain 
by  this  sculptor.  For  the  Piazza  della  Signoria  (formerly 
Granduca)  in  Florence,  he  executed  an  equestrian  statue 
of  Cosimo  I.,  of  great  excellence.  He  also  executed  an 
equestrian  statue  of  Ferdinand  I.,  which  stands  in  the 
Piazza  della  SS.  Annunziata;  it  was  cast  from  cannon 
taken  by  the  Knights  of  St.  Stephen  from  the  Turks. 

In  the  Loggie  de'  Lanzi  is  his  famous  marble  group 
of  the  Eape  of  the  Sabines.  Sir  Joshua  Eeynolds  says : 
"John  of  Bologna,  after  he  had  finished  a  gi'oup  of  a 
young  man  holding  up  a  young  woman  in  his  arms,  with 
an  old  man  at  his  feet,  called  his  friends  together  to  tell 
him  what  name  he  should  give  it,  and  it  was  agreed  to 
call  it  the  Eape  of  the  Sabines," 


I 

1 


1B24.]  JEAN  DE  BOLOGNA.  169 

The  bronze  doors  of  the  cathedral  of  Pisa  were  designed 
by  Jean  de  Bologna  and  executed  by  other  artists.  Upon 
the  central  door  is  the  history  of  the  Virgin ;  upon  those 
at  the  sides  are  represented  scenes  in  the  life  of  Christ 
Statuettes  of  Christ  and  St.  John  the  Baptist  are  upon 
the  holy-water  basins  in  the  cathedral  of  Pisa ;  above  the 
high  altar  is  a  Crucifixion  by  him,  and  at  the  entrance  to 
the  choir  two  bronze  angels. 

One  of  the  statues  adorning  the  exterior  of  Or  San 
iMichele  in  Florence,  that  of  St.  Luke,  is  by  this  artist. 
He  died  in  IGOS ;  his  tomb  is  in  SS.  Annunziata,  in 
Florence. 


JEAN    GOUJON. 

JEAN  GOUJOX,  sculptor  and  arcliitect,  was  born  in 
Paris  in  1530.  He  has  been  called  the  restorer  of 
sculpture  in  France ;  he  has  been  also  styled  the  "  French 
Phidias,"  and  the  "  Correggio  of  sculpture."  He  studied 
sculpture  in  Paris,  and  no  doubt  visited  Italy,  for  his 
style  shows  a  familiarity  with  the  pure  forms  of  the 
antique.  He  produced  excellent  works  in  relief,  remark- 
able for  distinctness  and  also  for  delicacy.  His  figures 
are  graceful,  though  sometimes  of  too  lengthy  and  slender 
proportions. 

The  work  which  brought  him  his  greatest  fame  was 
the  Fountain  of  the  Innocents,  executed  for  the  jMarche 
des  Innocents.  Upon  this  structure  are  two  very  graceful 
nymplLS,  though  standing  in  such  narrow  niches  that  the 
finest  eliect  is  lost.  Some  of  the  reliefs  from  this  fountain 
have  been  placed  in  the  Louvre. 

Goujon's  famous  Diane  C/utascrcsse,  a  marble  statue  of 


170  SCULPTORS  OF  THE  RENAISSANCE.  [im 

the  goddess  which  formerly  belonged  to  a  fountain  at  the 
castle  of  Anet,  built  for  Diana  of  Poitiers,  is  now  in  the 
Louvre.  The  Diana  is  a  graceful  figure  of  excessive 
length,  seated,  with  the  right  arm  around  the  neck  of  a 
stafT,  and  holding  in  the  left  hand  a  bow. 

Goujon  was  employed  at  Eouen,  and  the  tomb  of  the 
Due  Louis  de  Breze,  raised  by  his  wife,  Diane  de  Poitiers, 
in  the  cathedral,  is  ascribed  to  him  and  the  sculptor 
Cousin. 

An  Entombment  of  Christ,  and  the  Four  Evangelists, 
are  reliefs  by  his  hand  now  to  be  seen  in  the  Louvre. 
The  scene  of  the  Entombment  is  a  dignified  and  touch- 
ing work,  showing  much  power  in  dealing  with  sacred 
subjects.  The  four  figures  of  the  Evangelists  are  full  of 
character.  These  reliefs  are  an  early  work  of  the  art- 
ist, and  were  executed  for  the  rood  loft  in  St.  Germain 
I'Auxerrois  in  Paris. 

Jean  Goujon  was  patronized  by  Henry  II.,  and  em- 
ployed in  the  decorations  of  the  Louvre.  This  was  the 
last  work  upon  which  he  was  engaged.  He  was  a  Prot- 
estant, and  was  killed  in  the  massacre  of  Saint  Bar- 
tholomew in  1572. 


STEFANO     MADERNO. 

STEFANO  MADEENO,  an  Italian  sculptor,  was  born 
near  Como,  in  1576.  During  the  early  part  of  his 
career  he  was  much  occupied  in  the  execution  of  models 
after  the  antique,  which  were  afterwards  cast  in  bronze. 

One  of  the  most  remarkable  and  the  most  celebrated 
of  his  works  is  the  marble  figure  of  the  dead  S.  Cecilia, 
in  the  church  of  S.   Cecilia   in   Trastevere  in  Ptome,  a 


1S76.]  STEFANO  MADEllNO.  171 

picturesque  work,  and  full  of  deep  aud  tender  feeling. 
According  to  the  legend  of  this  virgin  martyr,  it  was  her 
dying  request  that  her  dwelling  should  be  converted  into 
a  place  of  Christian  worship,  and  this  wish  was  fulfilled. 
After  the  building  fell  into  ruin,  it  was  rebuilt  by  Pope 
Paschal  I.,  in  the  ninth  century.  It  is  related  that  he 
had  a  vision  in  which  S.  Cecilia  appeared  and  revealed 
to  him  the  spot  in  which  her  body  had  been  buried. 
Search  was  made,  and  the  body,  which  had  been  embalmed, 
was  found,  and  placed  in  the  new  edifice.  This  church, 
having  fallen  into  decay,  was  restored  and  embellished  in 
the  sixteenth  century  by  Cardinal  Sfondrati.  At  this 
time  it  is  said  that  the  sarcophagus  was  opened  and  the 
remains  were  found  intact,  enveloped  in  a  long  robe,  and 
lying  in  a  singular  but  graceful  aud  expressive  attitude. 
Stefano  Maderno  was  commissioned  to  execute  a  statue 
in  marble  representing  the  saint  in  the  attitude  and  vest- 
ments in  which  her  body  had  been  found.  This  beautiful 
and  remarkable  work  is  the  ornament  of  the  high  altar 
of  the  church.  The  figure,  lying  as  if  in  sleep,  is  entirely 
covered  with  drapery,  which  is  exquisitely  sculptured, 
showing  the  form  beneath  it.  The  arras  are  stretched  out 
and  crossed  at  the  wrists ;  the  hands  are  delicately  shaped 
and  very  beautiful ;  the  head  is  enveloped  in  drapery,  and 
the  features  are  concealed. 

In  the  Pauline  chapel  of  S.  Maria  IMaggiore  are  some 
of  Maderno's  works  in  bas-relief. 

In  his  later  time  this  artist  received  a  commission  in 
the  civil  government  of  Ripetta,  which  quite  occupied 
him,  and  he  relincpiislied  his  art  after  having  produced 
numerous  works.     He  died  in  Home  in  1G3G. 


172  SCULPTORS  OF  THE  RENAISSANCE.  [i58L 

SIMON    GUILLAIN. 

SIMON  GUILLAIlSr,  a  French  sculptor  of  considerable 
importance,  was  born  in  Paris  in  1581.  His  father 
was  a  reputable  sculptor,  and  sent  him  to  Eome  to  study. 
After  his  return  to  his  native  city  he  gained  a  high  repu- 
tation, and  his  best  works  were  produced  there.  Among 
the  most  important  of  them  now  existing  are  the  bronze 
statues  of  Louis  XIII.,  Anne  of  Austria,  and  Louis  XIV. 
as  a  child.  These  formed  part  of  a  monument  that  once 
adorned  the  Pont  au  Change,  and  are  now  in  the  Louvre. 
Many  of  Guillain's  works  were  destroyed  in  the  Eevolu- 
tion. 

This  artist  is  said  to  have  been  the  first  who  suggested 
the  weekly  reunions  of  artists,  from  which  in  time  arose 
the  Academy  of  Pine  Ai'ts,  and  he  was  one  of  the  first 
directors  of  this  institution.     He  died  in  1658. 


FRAN9OIS    DUQUESNOY. 

FRANgOIS  DUQUESNOY,  called  the  Fleming, 
known  in  Italy  as  Fiammingo,  was  a  sculptor  of 
considerable  reputation,  born  in  Brussels  in  1594.  He 
was  taught  the  rudiments  of  art  by  his  father,  who  was 
a  sculptor.  He  early  displayed  so  much  talent  that  the 
Archduke  Albert  sent  him  to  Italy  to  study.  While  stiU 
young  he  lost  his  generous  patron,  and,  forming  a  connec- 
tion with  Poussin  in  Rome,  they  pursued  their  studies  to- 
gether. He  soon  became  distinguished  for  the  beauty  of 
his  statues  of  children.  He  modelled  the  groups  of  chil- 
dren which  adorn  the  columns  of  the  grand  altar  of  St. 


15&I.J  FRANC^OIS  DUQUESNOY.  173 

Peter's.  One  of  the  colossal  statues  beneath  the  dome  of 
St.  Peter's  —  that  of  St.  Andrew  —  is  the  work  of  Dii- 
quesnoy ;  upon  this  he  was  occupied  for  five  yeai^s,  and  it 
ranks  with  the  best  productions  of  modern  art. 

For  the  church  of  S.  j\Iaria  di  Loreto  in  Pome  he  exe- 
cuted a  statue  of  S.  Susanna  of  much  simplicity  and 
beauty.  Duquesnoy  did  not  receive  the  jnitronage  to 
wliich  his  genius  and  skill  entitled  him.  He  died  in 
10-44,  or  1G4G,  by  poison  from  the  hand  of  his  brother. 


GIOVANNI    LORENZO    BERNINI. 

alOYAXNI  LOPENZO  BEPNINI,  caUed  II  Cava- 
LiERE  Bernini,  was  a  famous  sculptor  and  archi- 
tect, born  at  Naples,  in  1598.  He  was  gifted  with  brilliant 
talents,  which  were  manifested  at  a  very  early  period. 
His  taste  for  art  was  carefully  cultivated  by  his  father, 
and  while  very  young  he  was  taken  to  Pome.  He  was 
regarded  as  a  prodigy,  and  received  the  title  of  the  "  sec- 
ond Michael  Angelo."  Among  his  early  works  were 
busts  of  the  Pope,  and  various  cardinals.  Before  he  \vas 
eighteen  years  of  age  he  executed  a  group  in  marble  of 
Ajiollo  and  Daphne,  which  was  greatly  admired,  and 
which  late  in  life  the  artist  declared  to  be  one  of  the 
best  works  he  ever  produced.  It  is  now  in  the  Villa 
P>orghese  in  Pome.  The  future  that  this  work  seemed  to 
indicate  was  never  realized.  Had  Bernini  labored  at  a 
more  fortunate  period  of  art  his  career  might  have  been 
different ;  but  the  decadence  had  begun,  and,  yielding  to 
its  influence,  his  genius  and  activity  only  helped  to  make 
the  descent  more  swift  and  sure. 


174  SCULPTORS  OE  THE  RENAISSANCE.  [i598. 

Bernini  labored  in  Italy  for  half  a  century,  and  under 
several  different  Popes.  For  Pope  Urban  VIII.  he  ex- 
ecuted designs  for  the  embellishment  of  St.  Peter's.  In 
sculpture  he  executed  the  bronze  equestrian  statue  of 
Constantine  the  Great,  which  stands  in  the  portico.  He 
constructed  the  bronze  and  gilt  baldaccJiino,  or  canopy  of 
the  high  altar  ;  it  is  supported  by  four  twisted  columns, 
copied  from  those  said  to  have  been  brought  from  the 
temple  at  Jerusalem.  Above  the  columns  are  figures  of 
angels  ;  the  covering  is  surmounted  with  a  globe,  above 
which  is  a  cross  ;  —  the  height  of  the  whole  is  one  hun- 
dred and  twenty -six  feet  from  the  pavement.  The  altar 
is  between  the  pedestals  of  the  two  front  columns.  The 
structure  is  tasteless  in  the  extreme.  He  executed  the 
tomb  of  Urban  VIII.  in  the  Tribune  of  St.  Peter's; 
the  work  is  marred  by  some  disagreeable  details,  but  the 
statue  of  the  Pope  is  majestic  and  full  of  life.  He  also 
executed  the  tomb  of  Alexander  VII.  in  the  north  aisle 
of  the  church,  a  disagreeable  and  theatrical  performance. 
The  Cathedra  Petri  in  the  Tribune  of  St.  Peter's  is  by 
Bernini,  —  a  bronze  case  enclosing  the  ancient  episcopal 
chair  of  St.  Peter  (so  called).  It  is  supported  by  gigantic 
statues  of  St.  Ambrose,  St.  Augustine,  St.  Athanasius,  and 
St.  John  Chrysostom.  The  pavement  of  St.  Peter's  is 
from  designs  by  Bernini  and  Giacomo  della  Porta. 

For  the  chapel  of  S.  Teresa,  in  S.  Maria  della  Vit- 
toria,  he  executed  a  group  representing  the  saint  in  ec- 
stasy, an  angel  about  to  shoot  an  arrow  into  her  heart ;  it 
was  much  admired,  but  partakes  strongly  of  the  sensual 
in  character.  In  the  nave  of  S.  Giovanni  in  Laterano 
are  statues  of  the  Apostles  by  the  school  of  Bernini, — 
"  twelve  distorted  and  dull  colossi  of  the  Apostles,  imita- 
tions of  the  attitudinizing  giants  of  St.  Peter's."     Among 


I 


I 


159ft]  GIOVANNI  LORENZO  BERNINI.  175 

this  artist's  mythological  sculptures  is  a  Eape  of  Proser- 
pine, iu  the  Villa  Ludovisi ;  a  group  which  is  ridiculous 
and  repulsive  in  character. 

Bernini's  greatest  work  in  architecture  is  the  circular 
colonnade  of  St.  Peter's.  'M.  Wey  says  of  this  construc- 
tion :  — 

"  This  enormous  fantasy  is  the  manifesto  of  a  style 
which  subordinates  utility  to  symmetry,  and  rules  to 
decorative  effect;  these  two  hundred  and  eighty-four  col- 
umns, which  are  strong  enough  to  support  the  palaces  of 
Semiramis,  support  nothing  at  all ;  they  are  placed  there 
for  show ;  they  are  the  feet  of  two  banqueting-tables  set 
for  a  congress  of  giants,  on  which  are  drawn  up  in  a  row 
ninety-six  statues  of  between  three  and  four  metres,  which 
from  a  distance  cannot  be  distinguislied,  and  which  you 
do  not  see  any  better  when  you  are  near.  For  that  mat- 
ter, no  one  looks  at  them ;  and  such  is  the  fate  of  works 
of  art  that  are  lavished  out  of  place. 

"  We  cannot  deny  that  this  colonnade,  connecting  itself 
with  the  piazza  by  two  curves  of  such  amplitude,  is  an 
imposing  conception.  It  is  still  more  so  on  paper;  it 
would  have  its  effect  if  one  could  take  a  bird's-eye  sur- 
v'ey  of  the  whole  ;  it  would  be  too  easy  to  show  that  this 
plan  is  a  theoretic  expression,  and  tliat  the  ground  fur- 
nishes no  point  of  view  from  which  the  whole  spectacle 
is  to  be  olitained." 

The  Barberini  Palace,  commenced  by  Maderno,  was  fin- 
ished by  Bernini ;  and  the  elaborate  Fontana  del  Tritone 
in  the  Piazza  Barberini  is  from  his  design.  He  con- 
structed the  chaj)el  of  S.  Teresa  in  S.  i\Iaria  della  Vit- 
toria,  and  the  church  of  S.  Bibiana  was  rebuilt  by  him 
in  1025 ;  he  executed  the  statue  of  S.  Bibiana,  which 
stands  Ijy  the  high  altar.     In  the  church  of  S.  Sebastiano, 


176  SCULPTORS  OF  THE  RENAISSANCE.  [1598. 

on  the  Appian  Way,  is  a  fine  statue  of  St.  Sebastian,  mod- 
elled by  Bernini,  but  carved  by  another  hand. 

In  1665,  at  the  invitation  of  Louis  XIV.,  Bernini 
travelled  to  Paris,  accompanied  by  a  numerous  retinue ; 
he  executed  there  a  few  works  in  sculpture,  but  at  the 
end  of  eight  months  returned  to  Eome,  where  he  was 
welcomed  with  demonstrations  of  joy. 

During  his  lifetime  Bernini  received  rewards  and  ad- 
miration in  liberal  measure,  but  his  fame  has  grown  less 
with  time.  He  himself  acknowledged,  near  the  close  of 
his  life,  that  he  had  departed  from  the  true  principles  of 
sculpture,  sacrificing  the  highest  beauty  to  the  merely 
sensational,  and  destroying  purity  of  design  by  excessive 
ornamentation.  His  influence  upon  the  art  of  his  time 
was  most  pernicious,  for  his  style  was  eagerly  followed. 

Bernini  was  of  striking  personal  appearance  ;  his  coun- 
tenance, which  was  very  expressive,  became  terrible  when 
he  was  excited  with  anger.  His  temper  was  fiery,  yet  he 
was  generous  in  his  allusions  to  the  achievements  of 
others,  and  modest  in  referring  to  his  own.  His  long  life 
was  one  of  intense  activity,  and  he  produced  a  very  large 
number  of  works.  He  died  in  Eome  in  1680,  and  was 
buried  with  great  pomp  in  S.  Maria  Maggiore. 


ALESSANDRO    ALGARDI. 

A  LESSANDEO  ALGAEDI,  ax  Italian  sculptor  and 
-^^  architect,  was  born  at  Bologna  in  1598.  He 
studied  first  under  Giulio  Cesare  Consent!,  and  after- 
wards in  the  Academy  of  the  Caracci.  Later  he  went  to 
Venice,  and   thence  to  Eome,  where   he  was  employed 


1598. J  ALESSA^"DRO  ALGAEDI.  177 

in  original  works  in  sculpture,  and  in  restoring  mutilated 
works  of  antiquity.  He  executed  a  statue  of  St.  Mag- 
dalene for  the  church  of  S.  Silvestro  on  the  Quirinal, 
which  brought  him  great  fame,  and  princes  and  cardi- 
nals came  to  avail  themselves  of  his  talents.  His  most 
celebrated  work  is  the  Flight  of  Attila,  a  bas-relief  above 
the  altar  of  S.  Leo  in  St.  Peter's.  It  is  vivid  and  pictu- 
resque, if  extravagant  in  style.  M.  Wey  sa3'S  the  work 
is  "  a  A-iituoso's  trick,  and  nothing  more."  A  God  of 
Sleep,  by  Algardi,  in  the  Borghese  Villa,  has  frequently 
been  mistaken  for  an  antique.  His  works  show  the  pre- 
vailing tendency  of  liis  time  to  an  undue  striving  after 
pathetic  or  picturesque  effect. 

Among  Algardi's  works  in  architecture  is  the  beautiful 
A'illa  Doria  Pamhli. 

He  died  in  Rome,  in  1654 


JUAN  MARTINEZ  MONTANES. 

J  FAX  MARTINEZ  ]\IONTANES  was  a  talented 
sculptor  of  Southern  Spain,  probably  born  in  the 
latter  half  of  the  sixteenth  century.  Little  is  known 
of  his  life,  and,  though  he  left  works  of  excellence,  he  is 
more  important  as  the  founder  of  a  school  of  sculpture 
in  his  native  country.  He  combined  great  technical 
knowledge  of  his  art  with  graceful  conception,  and  gi'cat 
purity  of  style.  In  the  chapel  of  S.  Augustine  in  the 
cathedral  of  Seville  is  a  Conception  which  ranks  among 
the  nol)lest  of  his  productions.  Other  works  by  Mon- 
tanes  are  to  be  seen  in  the  Museum  of  Seville.  He  died 
in  1G14. 

12 


178  SCULPTORS  OF  THE  RENAISSANCE.  [15... 

Alonzo  Cano,  (1601-1667)  was  one  of  the  most  im- 
portant followers  of  Montanes,  and  produced  works  in 
sculpture  of  great  beauty  and  depth  of  expression,  though 
he  is  more  celebrated  as  a  painter.  The  greater  part  of 
his  sculptures  are  of  wood,  and  some  of  them  are  of  won- 
derful perfection.  They  are  to  be  seen  at  Seville,  Gra- 
nada, and  Madrid. 

Pedro  Eoldan,  another  eminent  sculptor  of  the  school 
of  Montanes,  was  born  at  Seville  in  1624.  He  studied  in 
Eome  also,  and  gained  several  prizes  at  the  Academy  of 
St.  Luke.  After  his  return  to  Spain  he  labored  at  Seville 
and  at  Madrid,  where  many  of  his  works  are  to  be  seen. 
Liibke  says  that  with  Roldan  "  Spanish  sculpture  as- 
sumed a  mannerism  and  exaggeration  of  style,  although 
his  works  are  still  pleasing  by  important  ideas."  He  died 
at  Seville  in  1700. 

LuiSE  EoLDAN,  daughter  of  Pedro,  was  a  sculptor  of 
considerable  reputation.  She  was  instructed  by  her 
father,  and  assisted  him  in  many  of  his  works.  She 
was  invited  to  Madrid  by  Philip  IV.,  who  gave  her 
various  commissions,  and  assigned  her  a  pension.  She 
died  at  Madrid  in  1704. 


PRAN9OIS     ANGUIER. 

FEANgOIS  ANGUIEE  was  a  celebrated  French 
sculptor,  born  at  Eu,  in  Normandy,  in  1604.  He 
was  the  son  of  a  carpenter,  and  when  very  young  learned 
to  carve  in  wood.  A  generous  citizen  of  his  native  town, 
observing  the  talent  which  his  productions  evinced,  sent 
him  to  Paris  to  study  with  Simon  Guillain.     He  was  so 


1601]  FRANCOIS  ANGUIER.  179 

successful  that  he  was  able,  a  few  years  later,  to  go  to 
Eome  to  study.  He  made  some  copies  of  antique  sculp- 
ture, and  produced  many  original  works.  He  was  much 
patronized  by  his  countrymen,  and  was  regarded  as  one 
of  tlie  most  excellent  sculptors  of  his  age  in  France. 
His  works  are  remarkable  for  truth  and  expression.  His 
finest  work  is  the  monument  of  Henry  II.  of  Montmo- 
rency, in  the  chapel  of  the  College  at  Moulins.  Tiie 
graceful  figure  of  the  deceased  is  sculptured  in  the  cos- 
tume of  a  Eoman  general.  His  monument  of  the  Due 
de  Longueville,  and  that  of  the  Due  de  Ilohan,  are  in  the 
Louvre.  For  the  church  of  the  Sorbonne  he  executed  a 
tine  marble  crucifix.  He  was  appointed  by  Louis  XIIL 
keeper  of  his  cabinet  of  antiquities,  and  occupied  apart- 
ments in  the  Louvre. 

He  died  at  Paris  in  1669.  STAI£  FORMAL  SOlOliL 

MICHEL     ANGUIER. 

A  /riCIIEL  ANGUIEK,  brother  of  Franc^ois,  was  born 
-^VX  ill  1(j12,  and  enjoyed  the  same  opportunities  as 
liis  l)r()ther,  in  his  youth  learning  to  carve  in  wood.  In 
1G41  he  went  to  Pionie  and  became  the  pupil  of  Algardi, 
and  assisted  him  in  various  works  in  St.  Peter's,  and  in 
tlie  ])alaces  of  Pome.  He  lived  in  Pome  for  ten  years, 
and  ftn  his  return  to  Paris  assisted  his  brother  in  some  of 
his  works. 

In  1G53,  Michel  adorned  the  apartments  of  Queen 
Anne  of  Austria  in  the  Louvre.  For  the  same  (pieen  he 
executed  the  sculptures  in  the  clmrch  (»f  \'al  de  Grace, 
among  wliidi  the  Nativity,  above  the  altar,  is  considered 


180  SCULPTORS  OF  THE  RENAISSANCE.  [i6i2. 

his  finest  work.  He  executed  the  figure  of  the  Christ  in 
the  "  Calvary  "  of  the  church  of  St.  Eoch.  A  fine  Lust  of 
Colbert  by  him  is  in  the  Louvre.  The  last  work  of  this 
sculptor  was  the  ornamentation  of  the  Porte  St.  Denis 
in  Paris.  This  triumphal  arch  was  erected  to  commem- 
orate the  victories  of  Louis  XIV.  in  Holland  and  the  dis- 
trict of  the  Lower  Ehine.  It  is  adorned  with  statues  and 
bas-reliefs;  the  allegorical  figures  of  Holland  and  the 
Ehine  are  after  the  designs  of  Lebrun.  This  artist  was 
Professor  in  the  Academy  of  Fine  Arts  at  Paris.  He 
died  in  1686. 


PIERRE    PUGET. 

PIEEEE  PUGET,  or  Piehre  Paul  Puget,  a  French 
sculptor,  architect,  and  painter,  was  born  in  Mar- 
seilles in  1622.  His  father  was  a  painter  and  archi- 
tect, and  gave  him  some  instruction  in  these  arts  in  his 
early  youth.  At  the  age  of  fourteen  he  was  placed  with 
a  ship-builder  to  carve  ornaments  for  the  decoration  of 
ships.  Growing  weary  of  this  employment,  Puget  left 
Marseilles  and  went  to  Italy.  There  he  met  with  kind- 
ness and  assistance,  and  was  enabled  to  pursue  the  study 
of  art.  He  seems  to  have  devoted  himself  at  first  chiefly 
to  painting,  but  later  in  life  he  renounced  it  entirely,  and 
practised  sculpture  and  architecture  exclusively.  His 
principal  works  are  in  sculpture,  and  in  this  department 
his  productions  are  numerous,  and  in  the  artist's  lifetime 
were  so  much  admired  as  to  gain  for  him  the  title  of  the 
"  French  Michael  Angelo." 

Puget  labored  at  Genoa,  Toulon,  Aix,  Paris,  and  Mar- 
seilles, but  finally  fixed  his  abode  in  the  last-named  city. 


1622.]  PIERRE  PUGET.  181 

where  he  lived  in  solitude,  follo^villg  out  the  suggestions 
of  his  own  genius. 

The  works  of  this  sculptor  are  censured  as  exaggerated 
in  style  and  wanting  in  refinement,  and  also  as  inaccu- 
rate in  proportions.  He  was  possessed  of  remarkable 
originality  and  power,  but  he  was  eccentric,  and  wanting 
in  the  true  feeling  for  beauty.  Many  of  his  faults  might 
have  been  remedied  by  study  and  reflection ;  but  his 
early  education  was  careless  and  inadequate,  in  art  as  in 
letters,  and  this  was  never  atoned  for.  In  the  expres- 
sion of  life  and  action,  and  even  passion,  he  sometimes 
exhibited  great  power;  but  wanting  the  highest  beauty, 
his  productions  fail  to  please. 

The  Milo  of  Crotona,  now  in  the  Louvre,  is  considered 
his  master-piece  ;  and  by  some  admirers,  the  master-piece 
of  French  sculpture.  It  is  repulsive  from  the  character  of 
the  subject,  but  it  is  full  of  energetic  life,  and  remarkable 
in  expression.  Somewhat  more  pleasing  and  picturesque 
is  the  large  group  of  Perseus  liberating  Andromeda, 
Alexander  and  Diogenes,  a  large  and  very  picturesque 
bas-relief,  was  his  last  work.  Viardot  says :  "  This  sculp- 
tured picture  is  an  extraordinary  feat,  and  I  own  that 
its  very  sti-angeness  makes  its  author  near  akin  to  ISIi- 
chael  Angelo."  Both  the  last-named  works  are  in  the 
L/juvre. 

In  painting  Puget  executed  works  in  various  churches 

and  cathedrahi  in  France ;  in  architecture  he  designed 

several  edifices  in  Genoa ;  in  Marseilles  he  designed  the 

church  of  the  Capuchins  and  the  Eglise  de  la  Charitc. 

•He  died  in   1G'J4 


182  SCULPTORS  OF  THE  RENAISSANCE.  [mo. 


CAIUS    GABRIEL     GIBBER. 

CAIUS  GABRIEL  GIBBER,  or  CIBERT,  a  success- 
ful sculptor  in  England,  was  the  son  of  a  Dane, 
cabinet-maker  to  the  king  of  Denmark,  born  in  Flens- 
burg,  in  the  Duchy  of  Holstein,  in  1630.  But  little  is 
known  of  his  early  history,  except  that  in  his  youth  he 
showed  so  marked  a  talent  for  sculpture  that  he  attracted 
the  attention  of  the  king,  who  sent  him  to  Rome  to  study. 
About  1660,  Gibber  became  a  resident  of  London,  where 
he  soon  received  much  encouragement  and  patronage.  In 
the  early  part  of  his  career,  he  manifested  a  fondness 
for  classic  subjects,  which  were  for  a  time  admired ;  but 
to  his  later  works  in  a  different  department,  he  owes  his 
reputation  as  a  sculptor  of  original  power.  He  was 
employed  by  the  government  in  various  public  works ; 
executing  statues  of  several  monarchs,  and  also  a  variety 
of  decorative  works,  such  as  fountains,  garden  vases,  and 
other  landscape  ornaments.  He  seems  to  have  been  es- 
teemed by  Sir  Ghristopher  Wren,  who  employed  him  to 
carve  the  Phoenix  above  the  south  portal  of  St.  Paul's. 

Gibber  was  employed,  in  the  maturity  of  his  powers,  in 
the  sculptured  decorations  at  Ghatsworth.  The  beautiful 
statues  representing  Faith  and  Hope,  that  stand  at  either 
side  of  the  altar-piece  in  the  chapel,  are  his ;  he  executed 
there,  besides,  several  mythological  figures.  His  most 
celebrated  work  was  executed  for  the  Bethlehem  Hospital 
in  London,  —  two  figures  representing  Raving  and  Melan- 
choly Madness.  Painful  as  the  subject  is,  these  figures 
are  remarkable  for  both  pathos  and  poetry.  They  are 
now  in  the  South  Kensington  Museum. 

The  sculptor  was  the  father  of  Golley  Gibber,  the 
dramatist.     He  died  in  London  in  1700. 


iMO]  CHARLES  AXTOIXE  COYSEVOX.  183 


CHARLES  ANTOINE  COYSEVOX. 

CIIAIILES  AXTOIXE  COYSEVOX  was  an  able 
Eronch  sculptor,  born  at  Lyons  in  1640.  He  studied 
in  Paris,  and  early  became  distinguished  as  an  artist. 
His  style  was  bold  and  picturesque,  and  in  his  best  period 
he  produced  works  of  considerable  excellence.  One  of 
his  principal  works  is  the  mausoleum  of  Cardinal  ^Mazarin, 
now  in  the  Louvre.  It  is  excellent  in  design  and  in  some 
parts  displays  much  power.  The  kneeling  figure  of  the 
Cardinal  is  noble  and  dignified ;  there  are  two  attendant 
figures,  in  marble,  representing  Charity  and  Eeligion,  and 
upon  tlie  steps  of  the  monument  are  seated  figures  of,.^ 
Prudence,  Fidelity,  and  Peace.  In  the  same  gallery  are 
busts  of  Eichelieu,  Bossuet,  Lebrun,  and  Mignard,  by 
Coysevox.  The  two  fine  groups  of  Fame  and  IMercury 
on  winged  steeds,  at  the  entrance  to  the  gardens  of  the 
Tuileries  from  the  Place  de  la  Concorde,  are  the  work 
of  this  sculptor.     He  died  in  1715. 

Another  artist  of  some  eminence  who  flourished  at  the 
same  period  was  Francois  Girardon  (1628-1715).  He 
was  a  rival  of  Coysevox.  In  the  gardens  at  Versailles  is 
a  Rape  of  Proserpine  by  Girardon,  which  calls  to  mind 
the  exaggerated  style  of  Bernini.  In  the  church  of  the 
Sorbonne  is  his  monument  of  Cardinal  Richelieu. 

X'icnoLAS  Cou.sTOU  (1658-1733)  was  a  nephew  and 
pupil  of  Coy.sevox,  whose  best  works  are  to  be  seen  in  the 
gallery  of  tlie  Louvre.  GuiLLAUME  CousTOU,  brother  of 
the  la.st  named  (1678-1746),  was  the  author  of  the  two 
Horse-tamers  at  the  entrance  to  the  Champs  Elys<jes ; 
they  were  formerly  in  tlie  garden  of  the  palace  at  Marly, 
but  were  removed  to  their  present  position  in  1795. 


184  SCULPTORS  OF  THE  RENAISSANCE.  [1645. 


CORNELIUS    VAN    CLEVES. 

COENELIUS  VAN  CLEVES,  or  Cokneille  van 
Cleves,  was  a  sculptor  of  considerable  eminence, 
born  in  Paris  in  1645.  His  family  were  originally  from 
Flanders.  He  first  studied  in  the  school  of  Anguier, 
where  he  made  such  progress  as  to  become  the  assistant 
of  his  master  in  some  of  his  important  works.  In  1671 
he  gained  the  Grand  Prize  of  the  Academy,  entitling  him 
to  the  royal  pension,  when  he  went  to  Eome  for  study, 
remaining  six  years.  After  his  return  to  Paris  he  became 
a  member  of  the  Academy,  executing  for  his  reception 
piece  Polyphemus  on  the  Eock,  which  is  now  in  the 
Louvre. 

Van  Cleves  labored  successfully  at  his  art  at  Paris,  at 
Versailles,  and  at  Marly.  He  was  a  careful  and  pains- 
taking artist ;  often  dissatisfied  with  his  achievements, 
he  would  destroy  his  models  and  commence  anew ;  but, 
laboring  with  uncommon  industry,  he  produced  a  large 
number  of  works.  Many  of  his  sculptures  have  been 
engraved.     He  died  in  1732. 


GRINLING    GIBBONS. 

aEINLING  GIBBONS  was  born  about  1650,  in 
London  according  to  some  authorities  ;  according  to 
others,  in  Eotterdam.  If  he  were  a  Hollander  by  birth, 
he  probably  went  to  London  at  an  early  age.  He  is  dis- 
tinguished as  the  first  sculptor  of  eminence  in  Great 
Britain.     He  commenced  carving  in  wood,  and  his  finest 


165a]  GRIXLIXG  GIBBONS.  185 

works  were  executed  in  this  material.  His  earliest  pro- 
ductions were  much  admii'ed,  but  these  have  all  disap- 
peared, or  are  now  unknown.  His  talents  attracted  the 
attention  of  King  Charles  II.,  who  appointed  him  one  of 
tlie  coimnissioners  of  public  works,  and  employed  him  iu 
the  embellishments  at  Windsor  Ciistle.  The  carvings  in 
the  Waterloo  Chamber  and  those  iu  the  State  Anteroom 
are  by  Gibbous. 

For  the  palace  at  Chatsworth  he  designed  and  executed 
most  elaborate  and  elegant  wood-carving,  consisting  of 
flowers,  foliage,  and  birds  of  marvellous  truth  to  nature. 
The  decorations  of  the  chapel  at  Chatsworth,  attributed 
to  Gibbons,  are  among  the  most  exquisite  productions  in 
this  branch  of  art.  There  is  much  dispute  as  to  the 
authorsl)ip  of  these  works,  as  the  name  of  Grinling  Gib- 
bons does  not  appear  iu  the  records  of  Chatsworth,  but 
the  decorations  of  the  chapel  are  attributed,  on  apparently 
good  grounds,  to  this  gifted  and  skilful  artist.  He  also 
decorated  a  room  at  Petworth. 

The  beautiful  wood-carving  of  the  choir  of  St.  Paul's 
in  London  is  the  work  of  Gibbons ;  and  for  St.  James's 
Cliurch  he  executed  the  foliage  which  adorns  the  altar. 
The  font  of  St.  James  is  among  his  few  works  in  mar- 
ble. 

•  Horace  Walpole  says :  "  There  is  no  instance  of  a  man 
before  Gibbons  who  gave  to  wood  the  loose  and  airy 
lightness  of  flowers."  His  talent  for  composition  seems 
not  to  have  equalled  his  skill  iu  executiou.  He  died  in 
ITlil. 


186  SCiJlPTOIIS  OF  THE  RENAISSANCE.  [i662. 


ANDREAS    SCHLUTER. 

ANDEEAS  SCHLUTEE,  or  Schlueter,  an  emineDt 
German  sculptor  and  architect,  was  born  at  Ham- 
burg about  1662.  His  productions  in  both  departments 
are  considered  among  the  most  excellent  of  his  time. 
His  father,  who  was  an  indifferent  sculptor,  took  him  to 
Dantzic  when  quite  young,  and  while  living  there  he 
probably  acquired  the  elements  of  his  art ;  he,  however, 
completed  his  studies  in  Italy. 

In  1694  Schliiter  was  summoned  to  Berlin  and  intrusted 
with  various  important  works,  and  appointed  court  archi- 
tect and  sculptor.  Among  his  productions  in  sculpture 
are  the  decorations  of  the  Arsenal  there,  which  are  espe- 
cially rich  and  beautiful  This  is  a  massive  structure 
with  a  quadrangular  court,  built  by  the  architect  ISTehring. 
The  facade  and  the  top  of  the  structure  are  ornamented 
with  groups  of  arms  and  military  trophies.  Above  the 
windows  of  the  inner  court  are  heads  of  dying  warriors, 
carved  in  stone;  these  are  full  of  thrilling  sentiment. 
Placed  in  the  midst  of  this  magnificent  display  of  the 
trappings  of  war,  they  impart  to  the  whole  a  profound 
pathos  and  reality. 

The  Eoyal  Palace  of  Berlin  was  finished  in  its  present 
form  by  Schliiter,  and  some  of  its  interior  decorations  are 
by  him.  The  Palace  of  Charlottenburg  was  also  built  by 
Schliiter. 

His  principal  work  in  sculpture  is  the  equestrian 
statue  of  the  Great  Elector,  Frederick  William,  which 
adorns  the  Kurfursten  Brlicke  in  Berlin.  The  hero  sits 
in  an  easy,  majestic  attitude,  though  cumbered  with  much 
drapery,  upon  a  proudly  stepping  horse ;  at  the  base  of 


1662.]  ANDREAS  SCHLUTER.  187 

the  pedestal  are  the  figures  of  four  chained  slaves.  The 
calmness  and  dignity  of  bearing  in  the  rider,  and  the 
sense  of  quiet,  steady  movement  in  the  noble  charger, 
impart  a  peculiar  fascination  to  this  work. 

In  the  most  successful  period  of  his  labors  misfortune 
overtook  the  artist.  In  raising  an  old  tower  to  a  greater 
height  for  the  purpose  of  introducing  a  chime  of  bells,  he 
was  supposed  to  have  committed  some  fault  of  construc- 
tion which  necessitated  the  pulling  down  of  the  structure, 
and  lie  was  consequently  dismissed  from  his  position  as 
architect,  though  retaining  that  of  court  sculptor.  The 
bitterness  of  this  reproach  broke  his  spirit. 

In  1713  Schliiter  was  invited  to  St.  Petersburg  by 
Peter  the  Great,  and  was  commissioned  with  the  execu- 
tion of  various  architectural  works ;  but  he  died  there 
in  the  following  year,  1714. 


RENE    FREMIN. 

I)EX1^  FIiIilMIX,  a  sculptor  of  some  eminence,  was 
\j  born  at  Paris  in  1G73.  He  first  studied  art  in  his 
native  city,  and  then  went  to  Pome  for  a  time.  After 
his  return  to  Paris  he  found  employment  in  the  decora- 
tion of  clmrches  and  other  edifices. 

At  tlie  time  when  Philip  V.  of  Spain  was  occupied 
with  the  improvements  at  S.  Ildefonso,  he  invited  Fre- 
min,  among  other  artists,  to  Spain,  where  he  remained 
for  several  years  ;  lie  returned  to  his  native  country 
loaded  with  honors  and  with  riches. 

Frdmin  is  one  of  the  principal  representatives  of  the 
softly   elegant   style   of  sculpture    which    prevailed    in 


188  SCULPTORS  OF  THE  RENAISSANCE.  [1673. 

France  in  the  seventeenth  century.  He  succeeded  best  in 
works  of  a  light  and  playful  character,  displaying  a  soft 
and  graceful,  but  superficial  beauty.     He  died  in  1744. 


PIETBR    SCHEEMAKERS. 

PIETER  SCHEEMAKEES  was  born  at  Antwerp 
in  1691.  He  studied  art  under  his  father,  and  was 
also  a  pupil  of  Laurent  Delvaux.  He  afterwards  went 
to  Eome  for  study,  and  from  there  proceeded  to  Eng- 
land, where  he  met  with  considerable  patronage.  After  a 
few  years  he  again  visited  Eome,  returning  to  England 
in  1735,  after  which  time  he  produced  his  most  important 
works.  Among  these  the  monuments  to  Shakespeare  and 
Dryden,  in  Westminster  Abbey,  are  to  be  especially  noted.* 
He  executed  various  portrait  busts  and  statues  of  some 
excellence.  A  small  copy  of  the  Laocoon  which  he  made 
was  much  admired,  and  casts  of  it  have  been  multiplied. 
His  original  works  are  marked  by  vigor  of  effect,  and  his 
execution  was  admirable. 

It  is  said  that  Scheemakers  returned  to  his  native  city, 
Antwerp,  in  1770,  where  he  died  not  long  after. 


LAURENT    DELVAUX. 

LAUEENT  DELVAUX  was  born  at  Ghent  in  1695. 
After  acquiring  the  elements  of  sculpture  in  his 
own  country  he  went  to  Eome,  where  he  remained  for 

*  The  elaborate  monument  of  Hugh  Chamberlain  in  the  same  church 
"is  the  joint  work  of  Scheemakers  and  his  master,  Delvaux. 


1695] 


LAURENT  DELYAUX.  189 


many  years  in  the  successful  practice  of  his  art.  After 
his  return  to  Flandei-s  lie  executed  a  large  number  of 
works,  which  entitle  him  to  a  distinguished  position 
among  the  sculptors  of  his  time. 

Among  the  principal  works  of  Delvaux  may  be  men- 
tioned his  sculptures  in  the  cathedral  at  Ghent.  The 
carved  pulpit  of  oak  and  marble  is  one  of  his  finest  pro- 
ductions ;  it  represents  the  Tree  of  Life.  His  statue  of 
Hercides  is  in  the  Ducal  Palace  at  Brussels. 

Delvaux's  works  are  more  remarkable  for  vigor  of  con- 
ception than  for  gi-ace  and  finish.     He  died  in  1778. 


LOUIS  FRAN9OIS  ROUBILIAC. 

LOUIS  FEANgOIS  EOUBILIAC,  or  Eoubillac, 
was  an  eminent  French  sculptor,  born  at  Lyons 
about  1G95.  He  was  educated  in  art  by  Balthazar  of 
Dresden.  While  still  young  he  went  to  England,  where 
a  large  part  of  his  life  was  passed,  and  where  his  best 
works  were  produced. 

Among  his  principal  works  is  the  monument  to  Mrs. 
Nightingale  in  Westminster  Abbey.  Death  is  represented 
as  a  skeleton,  aiming  his  dart  at  the  lady,  who  sinks  in 
terror  into  her  husband's  arms.  Cunningham  says : 
"  Those  who  are  not  pleased  with  the  natural  pathos  of 
one  part  are  captivated  by  the  allegorical  extravagance 
of  another  ;  and  persons  who  care  for  none  of  these  mat- 
ters find  enough  to  admire  in  the  diHicult  workmanship 
of  the  marble  skeleton." 

Tiie  monument  to  the  memory  of  John,  Duke  of  Ar- 
gyle,  in  Westminster  Abl>ey,  is  also  a  celebrated  work. 


190  SCULPTORS  OF  THE  RENAISSANCE.  [i695. 

This  elaborate  composition  represents  the  hero  expiring 
at  the  foot  of  a  pyramid,  upon  which  the  Muse  of  History- 
is  inscribing  his  name ;  Minerva  is  mournfully  looking 
on,  and  a  figure  of  Eloquence,  in  vehement  action,  seems 
pouring  forth  her  lamentations.  This  figure  is  character- 
ized by  Walpole  as  "  masterly  and  graceful,"  and  it  is  said 
to  have  been  admired  by  Canova.  His  monument  to  Sir 
Peter  Warren,  also  in  Westminster  Abbey,  is  remarkable 
for  a  fine  statue  of  Navigation. 

Eoubiliac's  last  work  was  the  monument  of  Handel,  in 
the  Poet's  Corner  in  Westminster  Abbey.  It  is  a  some- 
what fantastic  attempt  to  represent  the  great  composer 
in  one  of  his  moments  of  inspiration.  The  musician  is 
represented  listening  intently,  while  a  hand  is  touching  a 
lyre  in  the  clouds  above.  It  is  said  the  sculptor  thought 
that  an  ear  so  fine  and  sensitive  as  that  of  the  musician 
should  be  represented  in  marble  as  small  and  delicate, 
and,  accordingly,  modelled  Handel's  from  the  ear  of  a 
young  lady,  the  daughter  of  one  of  his  friends. 

Roubiliac  had  no  admiration  for  antique  sculpture,  but 
preferred  to  all  others  the  works  of  Bernini.  He  was  a 
conscientious  and  painstaking  sculptor,  laboring  with  pa- 
tience to  overcome  difficulties,  and  finishing  his  works 
with  great  care  and  minuteness.  They  are,  however, 
wanting  in  dignity  and  simplicity,  and,  though  sometimes 
poetic  in  conception,  they  never  exhibit  the  highest  spir- 
itual beauty.  Flaxman  said  :  "  Eoubiliac  was  an  enthu- 
siast in  his  art ;  possessed  of  considerable  talents,  he  cop- 
ied vulgar  nature  with  zeal,  and  some  of  his  figures  seem 
alive ;  but  their  characters  are  mean,  their  expressions 
grimace,  and  their  forms  frequently  bad ;  his  draperies 
are  worked  with  great  diligence  and  labor  from  the  most 
disagreeable  examples  in  nature,  the  folds  being  either 


1695.]  LOUIS   FRAN\OIS   ROUBILIAC  191 

heaNy  or  meagre,  frequently  without  a  determined  general 
form,  and  hung  on  his  figures  with  little  meaning,  lie 
grouped  two  figures  together,  for  he  never  attempted 
more,  better  than  most  of  his  contemporaries ;  but  his 
thoughts  are  conceits,  and  his  compositions  epigrams." 
Eoubiliac  died  in  1762. 


EDME    BOUCHARDON. 

EDMfi  BOUCHAEDON",  a  French  sculptor,  was  born 
in  1G9S.  He  was  a  pupil  of  the  younger  Coustou, 
and  is  remarkable  as  being  of  a  quiet,  conservative  taste, 
and  opposed  to  the  extravagant  and  artificial  style  of  his 
time.  In  the  church  of  St.  Sulpice  in  Paris  are  statues 
of  the  Apostles  by  Bouchardon,  which  are  worthy  of  men- 
tion. In  the  Louvre  is  a  group  of  Cupid  and  Psyche, 
which  is  much  admired.  Pysche  is  represented  softly 
approaching  the  sleeping  Cupid  with  the  fatal  lamp  in 
her  hand.  In  the  same  gallery  is  a  Victorious  Cupid, 
which  is  a  fine  work. 

Viardot  says  of  this  sculptor :  "  Well  educated,  con- 
scientious, and  of  quiet  appearance,  he  avoided  pomp, 
and  lived  in  solitude,  because,  enamored  as  he  was  of  the 
antique,  the  absurdity  of  the  fashionable  costumes  was 
repugnant  to  his  taste  and  predilections.  His  style,  cor- 
rect and  noble,  but  somewhat  cold,  needed  only  a  few 
sparks  of  Puget's  fiery  enthusiasm  to  give  it  animation. 
....  To  understand  to  what  extent  this  eminent  artist 
loved  and  understood  true  beauty,  in  this  age  of  the  in- 
sipid shepherdesses  of  Boucher  and  his  fellows,  we  have 
only  to  examine  the  Yoanfj  Girl,  holding  a  stag  by  a  cord, 


192  SCULPTORS  OF  THE  RENAISSANCE.  [i698. 

in  the  Louvre.  The  soft  and  pleasing  attitude,  the  grace- 
ful form,  the  head,  which  is  more  than  beautiful,  almost 
grand,  and  the  delicacy  of  the  execution,  combine  to  ren- 
der this  charming  statue  the  most  antique  of  modern 
works." 

Bouchardon  died  in  1762. 


LAMBERT     SIGISBERT     ADAM. 

LAMBERT  SIGISBERT  ADAM,  a  celebrated  French 
sculptor,  was  born  at  Nancy  in  1700.  His  father 
was  a  sculptor,  and  from  him  he  learned  the  elements  of 
his  art.  He  went,  however,  when  quite  young,  to  Paris, 
where  he  became  a  student  in  the  Academy  of  Fine  Arts, 
and  at  the  age  of  twenty-three  gained  the  prize  which 
enabled  him  to  study  in  Rome.  He  remained  there 
for  many  years,  devoting  himself  with  assiduity  to  the 
study  of  the  antique,  and  gaining  much  distinction  as 
a  sculptor.  Many  of  the  mutilated  remains  of  ancient 
sculpture  were  intrusted  to  him  for  restoration,  and  he 
executed  besides  a  number  of  original  works. 

Adam  afterwards  labored  in  Paris,  where  he  enjoyed  a 
high  degree  of  popularity.  Among  his  works  executed  in 
France  are  the  statues  of  the  Seine  and  the  Marne  which 
adorn  La  Haute  and  La  Basse  cascades  at  St.  Cloud.  At 
Versailles  he  executed  various  sculptures  for  the  royal 
gardens. 

In  1744  Adam  was  appointed  Professor  of  Sculpture  in 
the  Academy  of  Fine  Arts  at  Paris ;  he  was  a  member  of 
the  Academies  of  St.  Luke  at  Rome,  and  of  St.  Clement 
at  Bologna.     He  died  in  1759. 


1701]  JEAN   BAPTISTE  LE  MOYNE.  193 


JEAN     BAPTISTE     LE     MOYNE. 

JEAN  BAPTISTE  LE  MOYNE,  a  French  sculptor  of 
emiueuce  in  his  day,  was  born  in  Paris  in  1704.  He 
was  the  son  and  pupil  of  Jean  Louis  Le  ^Moyne  (1665- 
1755),  a  sculptor  of  considerable  reputation.  He  studied 
also  under  Piobert  le  Lorrain  (1666-1743)  of  Paris,  Pro- 
fessor of  Sculpture  in  the  Academy  of  Fine  Arts. 

At  the  age  of  twenty  Le  Moyne  gained  the  Grand  Prize 
of  the  Academy,  which  entitled  him  to  the  royal  pension, 
but  he  did  not  avail  himself  of  the  opportunity  to  go  to 
Rome  for  study.  He  had  no  admiration  for  the  purity 
and  simplicity  of  antique  sculpture ;  his  taste  was  for  a 
more  passionate  and  declamatory  style.  His  works  are 
theatrical  in  design,  though  he  excelled  in  mechanical  ex- 
ecution. His  productions  consist  chiefly  of  portrait  stat- 
ues and  religious  subjects.     He  died  at  Paris  in  1778. 


NICHOLAS     SEBASTIEN     ADAM. 

NICHOLAS  SEBASTIEX  ADAM,  a  talented  French 
sculptor,  was  born  at  Nancy  in  1705.  He  was  a 
brother  of  Lambert  Sigisbert  Adam,  and  in  the  higher 
qualities  of  his  art  was  thought  to  surpass  that  artist. 
He  wa.s  educated  in  art  at  Paris  and  Home,  Kfiinin<]j  a  hijih 
reputation,  and,  like  his  brother,  was  employed  in  the 
restoration  of  various  antique  works.  After  a  residence 
of  nine  years  in  Kome  he  returned  to  Paris.  The  work 
which  is  considered  his  masterpiece  is  the  monument  of 
the  Queen  of  Poland  in  tlie  churcii  of  Bon  Secours,  in 

13 


194  SCULPTORS  OF  THE  EENAISSANCE.  [i705. 

St.  Pierre,  a  suburb  of  Nancy.  Another  admired  work  is 
his  Prometheus,  in  the  Louvre.  For  the  royal  chapel  at 
Versailles  he  executed  a  bronze  relief  representing  the 
Martyrdom  of  St.  Victoria.  He  was  appointed  Professor 
of  Sculpture  in  the  Academy  at  Paris.    He  died  in  1778. 

Gaspard  Adam,  a  younger  brother,  was  also  a  sculptor 
of  some  merit. 


JEAN     BAPTISTE     PIGALLE. 

JEAN  BAPTISTE  PIGALLE,  one  of  the  most  cele- 
brated French  sculptors  of  the  eighteenth  century, 
was  born  at  Paris  in  1714.  He  was  the  son  of  a  carpen- 
ter, but,  having  a  taste  for  art,  he  became  a  pupil  in  the 
studio  of  the  sculptor  Jiobert  le  Lorrain.  After  studying 
under  different  teachers  in  Paris  he  went  to  Eome,  where 
he  studied  for  three  years.  After  his  return  to  Paris  his 
works  brought  him  into  marked  notice,  and  he  was  soon 
extensively  patronized.  He  was  a  most  persevering 
worker,  and  his  reputation  may  be  considered  as  fairly 
earned.  His  early  style  is  remarkable  for  its  ideal  beauty, 
but  later  he  seems  to  have  adhered  more  closely  to  actual 
nature.  By  some  he  has  been  charged  with  a  servile  im- 
itation of  nature. 

Pigalle's  masterpiece  is  the  monument  erected  by 
Louis  XV.  to  the  memory  of  Marshal  Saxe,  in  the  church 
of  St.  Thomas  at  Strasburg.  The  work  is  of  marble,  and 
fills  one  side  of  the  choir.  It  is  pervaded  by  a  singularly 
touching  sentiment,  and  proves  its  author  to  have  a  pe- 
culiar gift  of  conception  and  much  power  in  dealing  with 
the  pathetic.  The  Marshal,  a  figure  of  noble  and  elegant 
bearing  crowned  with  laurel,  is  represented  descending 


1714.]  JEAN   B.iPTISTE  PIG.VLLE.  195 

some  steps,  which,  unperceived  by  him,  lead  to  an  open 
tomb.  As  he  calmly  advances,  a  sympathizing  female 
figure  personating  France  is  endeavoring  to  restrain  him 
and  avert  the  doom  of  death.  A  weeping  Genius  bears  an 
inverted  torch,  a  mourning  Hercules  is  at  one  side,  and 
the  terrible  figure  of  Death  waits  by  the  open  coffin.  At 
the  l%ft  are  the  Austrian  eagle,  the  Dutch  leopard,  and  the 
English  lion,  with  broken  flags  below  them  in  allusion  to 
the  Marshal's  victories  over  these  powers.  Some  of  the 
accessories  detract  from  the  dignity  of  the  composition, 
but  it  is  truly  picturesque,  and  the  figure  of  the  hero  of 
Fontenoy  is  justly  admired.  The  work  has  been  several 
times  engraved. 

His  principal  work  at  Paris  is  the  tomb  of  Marshal 
Harcourt,  composed  in  accordance  with  a  dream  of  the 
hero's  widow,  erected  in  one  of  the  chapels  of  Notre  Dame. 
In  the  library  of  the  Institute  of  France  is  a  nude  statue 
of  Voltaire  by  Pigalle. 

A  statue  of  Venus  by  him  is  to  be  seen  in  the  gar- 
den of  Sanssouci,  at  Potsdam,  one  of  twelve  figures  sur- 
rounding the  basin  of  the  great  fountain,  and  considered 
the  finest  of  them  all. 

Pigalle  was  much  honored  in  his  profession ;  in  1744 
he  was  elected  a  member  of  the  Academy  of  Fine  Arts,  of 
which  he  became  successively  Assistant  Professor,  Pro- 
fessor, Assistant  Rector,  Rector,  and  Chancellor.  He  also 
received  the  Cordon  of  St.  Michael.     He  died  in  1785. 


196  SCULPTORS  OF  THE  RENAISSANCE.  [1722. 


JOSEPH    WILTON. 

JOSEPH  WILTON,  eminent  among  English  sculptors, 
was  born  in  London  in  1722.  He  was  the  son  of  a 
stucco-worker  who  gained  a  considerable  fortune  by  the 
manufacture  of  ornaments  for  ceilings  and  other  delBora- 
tions.  With  a  natural  inclination  for  sculpture  he  was 
provided  with  the  means  for  instruction ;  his  first  teacher 
in  art  was  Laurent  Delvaux,  and  at  the  age  of  twenty- 
three  he  went  to  Paris  and  studied  in  the  Academy  of 
Fine  Arts  under  the  direction  of  Pigalle.  He  met  with 
considerable  success  in  France,  and  after  learning  to  work 
in  marble  he  proceeded  to  Eome,  where  he  remained  for 
eight  years,  executing  various  copies  from  the  antique. 
His  education  in  art  was  thorough,  and  he  was  awarded 
the  Jubilee  Gold  Medal  at  the  Academy  of  St.  Luke  in 
1750.  Among  his  own  countrymen  he  found  admirers 
and  generous  patrons.  After  his  return  to  London  he 
was  made  one  of  the  directors  of  a  school  of  art  founded 
by  the  Duke  of  Fiichmond.  Later  he  was  appointed 
coach-carver  to  the  King. 

Wilton's  first  work  of  importance  in  sculpture  after  his 
return  to  England  was  the  monument  to  General  Wolfe 
in  Westminster  Abbey.  The  work  has  been  both  praised 
and  ridiculed.  It  is  probably  a  fair  example  of  his 
powers  of  conception  and  skill  in  execution.  The  com- 
position is  crowded,  and  rather  commonplace  in  character. 
The  daring  march  to  the  Heights  of  Abraham  is  repre- 
sented in  bas-relief,  and  is  a  vivid  picture  of  the  mem- 
orable scene ;  but  this  is  the  work  of  another  hand,  that 
of  Capizzoldi,  an  Italian  sculptor. 

Wilton  executed  other  monumental  works  in  England, 


1722.]  JOSEPH  AVILTON.  197 

and  was  the  author  of  various  portrait  busts.  He  was  one 
of  the  founders  of  the  lioyal  Academy,  and  for  some  time 
filled  the  office  of  Keeper  of  the  institution.  He  died  in 
1803. 


AUGUSTIN    PAJOU. 

AUGUSTIX  rAJOU,  a  celebrated  French  sculptor, 
was  born  at  Paris  in  1730.  His  decided  talent  for 
sculpture  led  to  his  being  placed,  at  a  very  early  age,  in 
the  school  of  Le  Moyne.  He  made  such  progress  that 
at  the  age  of  eighteen  he  won  the  Grand  Prize  of  the 
Academy,  wliich  enabled  him,  as  a  royal  pensioner,  to 
study  in  Ptome.  He  lived  in  Pome  for  twelve  years,  and 
ou  returning  to  Paris  his  reputation  was  quickly  estab- 
lished, and  he  was  extensively  employed.  His  style  was 
natural  and  his  execution  was  good,  and  he  so  far  sur- 
passed the  sculptors  of  the  preceding  generation  that  he 
enjoyed,  in  his  time,  a  great  celebrity. 

In  1767  he  was  appointed  Professor  of  Sculpture  in 
the  Academy  of  Fine  Arts,  in  Paris,  and  was  made  a 
member  of  the  Institute  during  the  rule  of  Napoleon. 

Pajou  executed  the  sculptures  of  the  fac^ade  of  the 
Palais  lioyal,  and  the  sculptured  ornaments  of  the  Opera 
House  at  Vereailles.  He  executed  some  of  the  ornaments 
of  the  cathedral  of  Orleans. 

Among  the  portrait  statues  by  Pajou  are  those  of 
Pascal,  Descartes,  F(5nelon,  Bossuet,  Turenne,  and  Buffbn. 
In  sculptured  likeness  he  was  very  successful.  Among 
his  mytliological  works  is  a  figure  of  Psyche,  in  the  gal- 
lery of  the  IvOuvre,  but  it  is  an  ungraceful  production. 

Pajou  died  in  Paris,  in  1H0:>. 


198  SCULPTORS  OF  THE  RENAISSANCE.  [1735. 


THOMAS    BANKS. 

THOMAS  BANKS,  an  eminent  English  sculptor,  was 
born  at  Lambeth  in  1735.  His  father,  who  was  an 
architect,  instructed  him  in  drawing  and  in  the  principles 
of  architecture.  He  was  afterwards  apprenticed  to  a 
landscape  gardener  and  architect,  but  his  imaginative 
nature  led  him  to  abandon  these  pursuits  for  the  more 
congenial  one  of  sculpture.  His  early  instruction  and 
practice,  however,  proved  of  advantage  to  him  in  his 
chosen  profession,  displaying  itself  in  the  beauty  and 
propriety  of  his  architectural  forms.  In  1770  he  gained 
the  prize  of  the  Eoyal  Academy  for  a  bas-relief  of  the 
Eape  of  Proserpine,  which  enabled  him  to  go  to  Eome  to 
study.  He  remained  there  seven  years,  making  diligent 
use  of  his  time  and  opportunities.  He  studied  nature 
faithfully,  and  further  improved  his  style  by  copying  the 
remains  of  antique  art.  The  works  of  Michael  Angelo 
in  the  Sistine  Chapel  stimulated  him  to  untiring  efforts 
to  reach  a  higher  standard  of  excellence,  and  some  of  his 
productions  exhibit  the  effect  of  his  study  of  the  master 
works  of  that  artist. 

Banks  excelled  in  works  of  a  purely  ideal  character, 
and  it  is  only  in  these  that  his  powers  can  be  fairly 
estimated.  In  subjects  of  a  prosaic  and  practical  char- 
acter he  fell  below  other  artists  of  his  time,  sometimes 
producing  incongruous  combinations  of  the  real  and  the 
fanciful;  but  his  best  works  entitle  him  to  grateful  regard 
for  the  influence  which  they  exerted  in  introducing  a 
pure  style  of  art.  His  lofty  imagination  and  his  refined 
style,  cultivated  by  devoted  study  of  the  best  models, 
fitted  him  for  the  attainment  of  great  things ;  but  he  did 


1735]  THOMAS   BANKS.  199 

not  receive  the  patronage  and  encouragement  which  he 
merited,  and  that  would  have  stimulated  him  to  the  high- 
est endeavor.  His  finest  conceptions  were  never  executed 
in  marble,  and  some  of  the  highest  inspirations  of  his 
genius  are  to  be  found  in  his  sketches. 

A  monument  to  ]\Irs.  Petree,  in  Lewisham  Church, 
Kent,  a  large  bas-relief,  is  of  especial  merit.  It  represents 
the  dying  mother  supported  by  Faith,  and  attended  by 
Hope  and  Charity,  while  the  son  sits  by  absorbed  in  his 
natural  grief.  A  monument  to  the  daughter  of  Sir  Brook 
Boothby  at  Ashbourne,  in  Derbyshire,  representing  a 
young  girl  sleeping,  is  a  work  of  touching  beauty. 

His  Caractacus  before  Claudius  is  esteemed  one  of  his 
masterpieces.  Caractacus  stands  in  an  undaunted  atti- 
tude before  the  Emperor,  who  listens  witli  apparent 
respect  to  the  words  of  the  patriot.  This  group  is  at 
Stowe. 

Among  his  latest  works  are  the  monument  to  Sir 
Eyre  Coote  in  "Westminster  Abbey,  and  the  national 
monument  to  Captains  Burgess  and  Westcott,  in  St.  Paul's 
Cathedral. 

In  his  professional  career.  Banks  was  active,  faithful 
and  just;  he  did  not  overestimate  his  own  merits,  or 
underestimate  those  of  his  associates.  As  a  master  he 
was  kind  and  gentle,  and  freely  gave  advice  and  assist- 
ance to  tho.se  who  wished  to  improve.  His  judgment 
and  integrity  secured  the  confidence  of  those  with  whom 
lie  w;is  connected  in  public,  and  he  was  alike  honorable 
in  all  the  private  relations  of  life.     He  died  in  1805. 


200  SCULPTORS  OP  THE  RENAISSANCE.  [i736. 


FRAN9OIS    LUCAS. 

FRANCOIS  LUCAS,  a  sculptor  of  some  importance 
in  modern  art,  was  born  at  Toulouse  in  1736.  He 
was  the  son  of  a  sculptor,  —  one  of  the  founders  of  the 
Academy  of  Art  in  Toulouse,  —  and  was  instructed  in  the 
elements  of  art  by  his  father.  In  1761  he  gained  the 
Grand  Prize  of  the  Academy.  A  few  years  later  he  was 
appointed  Professor  of  Sculpture.  His  feeling  for  art  led 
him  to  choose  figures  from  the  antique  to  be  used  as 
models  by  his  pupils,  in  place  of  the  works  of  modern 
sculptors.  He  visited  Eome  for  improvement,  and  made 
a  fine  collection  of  antiquities.  Some  of  his  best  works 
are  to  be  seen  at  Toulouse.     He  died  in  1813. 


JOSEPH    NOLLEKENS. 

JOSEPH  NOLLEKENS  was  born  in  London  in  1737. 
His  father  was  a  native  of  Antwerp,  and  a  painter 
of  some  note ;  his  mother  was  a  Frenchwoman.  His 
early  training  and  education  were  very  deficient.  His 
father  died  when  he  was  a  young  lad,  and  his  mother 
formed  a  hasty  second  marriage,  which  circumstances 
introduced  him  to  real  life  before  he  was  well  prepared 
for  it.  Having  a  great  fondness  for  drawing  and  model- 
ling, he  was,  in  his  thirteenth  year,  placed  with  Schee- 
makers  to  learn  sculpture.  He  was  devoted  to  his  work, 
and  made  good  progress,  winning  several  prizes  from  the 
Society  of  Arts.  Laboring  with  diligence  and  economy 
for  many  years,  he  laid  the  foundation  of  future  success. 


1737.]  JOSEPH  NOLLEKENS.  201 

In  1760  he  was  able  to  go  to  Eorae,  where  he  remained 
for  many  years,  producing  works  which  brought  him 
fame  and  money.  After  his  return  to  London  he  was 
extensively  patronized  by  his  countrymen,  and  became  a 
great  favorite  with  the  king,  George  III.  He  was  much 
employed  in  portrait  sculpture,  and  in  tliis  branch  of  art 
he  achieved  his  highest  success.  He  was  employed  in 
the  erection  of  various  monumental  works,  and  occasion- 
ally essayed  mythological  subjects,  but  these  were  not 
marked  by  any  real  elevation  of  sentiment.  The  sculptor 
himself  had  an  enthusiastic  fondness  for  the  goddesses 
which  he  created,  laboring  upon  one  of  his  Venuses,  it 
is  said,  at  intervals  for  twenty  years.  In  1772  he  was 
elected  a  member  of  the  Royal  Academy,  and  through  all 
liis  professional  career  maintained  a  high  position  among 
British  artists.  He  was  very  eccentric  in  character,  and 
was  somewhat  noted  for  his  parsimony.  The  habits  of 
strict  economy  which  he  formed  w'hile  pursuing  his  stud- 
ies clung  to  him  in  his  later  years,  and  he  was  proud  of 
what  he  considered  his  extraordinary  prudence,  though  to 
others  it  savored  of  meanness,  and  even  dishonesty. 

His  wife  brought  him  a  handsome  fortune,  and  to  his 
household  a  shrewdness  and  economy  which  exceeded  his 
own.  After  the  death  of  his  wife  the  sculptor  lived  more 
generously,  and  entertained  his  friends  with  more  freedom. 
He  seems,  also,  to  have  taken  pleasure  in  bestowing  his 
money  in  charity,  and  especially  in  assisting  needy  artists. 
Though  unpolished  and  illiterate,  he  was  a  good  listener, 
and  enjoyed  the  friend.ship  of  some  of  the  most  eminent 
men  and  women  of  his  time. 

It  has  been  said  that  Nollekens  had  a  feeling  of  con- 
tempt for  art,  except  as  a  means  of  acquiring  wealth;  but 
whatever  may  have  been  his  faults  and  deficiencies,  his 


202  SCULPTORS  OF   THE  RENAISSANCE.  [1737. 

life  and  works  prove  that  his  love  for  art  was  sincere. 
His  last  visit  to  the  Eoyal  Academy  is  thus  described  by 
Allan  Cunningham  :  "  Having  expressed  a  wish  to  Chan- 
trey,  whom  he  admired  and  loved,  to  see  the  exhibition 
of  painting  and  sculpture,  he  was  carried  up  stairs  in  a 
kind  of  sedan,  and,  with  his  friend  at  his  elbow,  sat  for  a 
time  looking  round  him.  He  then  fixed  his  eye  on  some 
work  which  pleased  him,  muttered  a  few  almost  inaudible 
words,  moved  with  his  body  in  the  direction  of  his  object, 
and  made  a  sign  when  he  was  placed  in  the  right  point  of 
view.  His  power  of  expressing  what  he  felt  was  never 
strong,  —  it  was  less  than  ever  now,  —  but  his  good  taste 
was  in  full  vigor,  for  he  caused  himself  to  be  placed  before 
all  the  best  paintings,  and  his  remarks  went  at  once  to  their 
chief  merits.  Chantrey  afterwards  said,  that  his  observa- 
tions were  judicious,  and  penetrated  to  the  sentiment  and 
meaning  of  the  scenes  and  groups.  When  he  was  borne 
to  his  coach,  he  gave  the  persons  who  helped  him  a 
guinea  each,  —  put  his  hand  to  his  hat,  and  bade  farewell 
forever  to  the  Eoyal  Academy.  He  was  then  eighty-two 
years  old." 

Nollekens  died  in  1823. 

Several  monuments  by  this  sculptor  are  in  "Westmin- 
ster Abbey ;  —  a  monument  to  three  naval  officers,  in  the 
north  transept ;  that  of  Bishop  John  Thomas,  in  the  south 
aisle ;  and  a  medallion  of  Goldsmith,  in  the  Poet's  Cor- 
ner. His  bust  of  Mr.  Townley  is  in  the  entrance  hall  of 
the  British  Museum. 


1740]  JUILX  BACON.  203 


JOHN    BACON. 

JOnX  BACOX,  a  distinguished  English  sculptor,  was 
born  in  Southwark  in  1740.  At  about  the  age  of 
fifteen,  he  was  apprenticed  to  a  china  manufacturer  at 
Lambeth,  M'here  he  was  employed  in  painting  upon  tlie 
Mare ;  but  he  soon  displayed  so  much  talent  for  modelling 
that  he  came  to  be  employed  exclusively  in  that  branch 
of  ait.  At  the  age  of  twenty-three  lie  began  to  work 
in  marble,  producing  various  mythological  works  which 
brought  him  considerable  fame.  Later  in  his  career  he  was 
more  occupied  in  the  execution  of  statues  and  busts. 
Some  of  Bacon's  works  are  higlily  praised,  though  he  was 
somewhat  deficient  in  imagination,  and  in  a  true  feeling 
for  beauty.  His  finest  work  is  the  monument  to  the  Earl 
of  Chatham  in  Westmiii.ster  Abbey.  He  executed  also 
the  monuments  of  John  Howard,  the  philanthropist,  and 
of  Dr.  Johnson,  in  St.  Paul's.  In  the  chapel  of  Grey's 
Hospital  is  a  memorial  statue  of  the  founder,  Thomas 
flrey,  by  Bacon,  which  is  considered  a  work  of  excellence. 
For  All-Souls'  College,  Oxford,  he  executed  a  statue  of 
Judge  Blackstone. 

Bacon  was  elected  a  membej-  of  the  Eoyal  Academy  in 
1778.     He  died  in  London  in  1799. 


JEAN    ANTOINE    HOUDON. 

JEAX  AXTOIXH  HoUDOX  was  an  eminent  French 
scul])tor,  ]>orn  at  Versailles  in  1741.  He  first  went  to 
Paris  and  studied  in  the  Academy  of  Fine  Arts,  and  about 
1700  lie  gained  theChaiid  Prize  fur  sculpture,  and  went  to 


204  SCULPTORS  OF  THE  RENAISSANCE.  [i74i. 

Eome  for  study.  He  remained  there  for  ten  years,  and 
then  returned  to  Paris,  where  he  soon  gained  a  reputation. 

Among  his  best  works  are  the  statue  of  Voltaire,  and 
the  bust  of  Moliere,  in  the  Theatre  Frangais  in  Paris. 
Viardot  says  that  in  these  "  Houdon  has  showed  how  the 
ideal  may  be  combined  with  the  real,  the  quickening 
spirit  wnth  the  body  it  animates." 

In  the  gallery  of  the  Louvre  are  a  number  of  his  pro- 
ductions ;  among  them,  a  spirited  bust  of  Jean  Jacques 
Eousseau,  and  a  statue  of  the  goddess  Diana,  in  bronze, 
the  latter  excellent  in  execution,  though  somewhat  heavy, 
and  more  in  the  character  of  Venus  than  of  the  agile 
huntress.  Houdon  executed  busts  of  Napoleon,  Josephine, 
Marshal  ISTey,  and  other  celebrated  personages,  remarkable 
for  truth  and  spirit. 

About  1785  Houdon  visited  America  at  the  solicitation 
of  Franklin  and  Jefferson,  and  while  here  was  commis- 
sioned to  execute  a  statue  of  Wasliiugton  for  the  State 
Capitol  at  Eichmond.  It  represents  Washington  in  civil 
attire  with  a  staff  in  his  hand ;  his  cloak  and  sword  are 
resting  upon  a  bundle  of  rods,  and,  near,  a  rude  plough  is 
represented.  The  original  bust  in  marble,  executed  in 
this  country  as  a  study  for  the  work,  is  in  the  possession 
of  Mr.  Hamilton  Fish  of  New  York.  Houdon's  Wash- 
ington is  declared  to  be  a  most  faithful  likeness.  Casts 
of  the  head  and  of  the  statue  are  in  several  collections  in 
this  country.  A  bust  of  Lafayette  by  this  sculptor  is  also 
in  the  State  House  at  Eichmond. 

In  the  church  of  S.  Maria  degli  Angeli  in  Eome  is  a 
colossal  statue  of  S.  Bruno  by  Houdon.  Of  this  master- 
piece Clement  XIV.  exclaimed,  "  He  would  speak,  if  he 
were  not  kept  back  by  the  discipline  of  his  order ! " 

In  his  personal  character  Houdon  was  amiable  and 
estimable.     He  died  in  1828. 


1745.]  FRANCOIS  MASSON.  20{ 


FRAN9OIS    MASSON. 

Fr.AX(;'OIS  MASSON  was  born  at  Vielle  Lyre,  in 
Xormandy,  in  1745.  He  learned  the  elements  of 
design  from  a  priest,  and  afterwards  ^\•as  instructed  by  a 
sculptor  of  Pont  Andemer.  He  acquired  much  skill,  and 
havini,'  executed  medallion  portraits  of  ^larslial  Broglie 
and  his  brother,  the  Bishop  of  Noyon,  to  the  great  satis- 
faction of  the  family,  they  sent  him  to  Paris  for  improve- 
ment, where  he  remained  four  years.  He  was  then 
commissioned  to  execute  a  fountain  for  the  palace  of  the 
Bishop  of  Noyon,  which  occupied  him  for  two  years. 
The  Bishop  was  so  much  pleased  with  the  work  that  he 
sent  ^lasson  to  Piome  to  study,  supporting  him  for  five 
years.  The  artist  improved  his  style  by  the  study  of  the 
antique,  and  on  returning  to  France  was  employed  in 
the  decoration  of  the  government  palace  at  ]\Ietz  until 
the  breaking  out  of  the  Picvolution.  After  that  time  he 
devoted  himself  to  the  execution  of  classical  subjects  and 
portrait  statues.  The  latter  are  remarkable  for  truth  to 
nature,  and  for  excellence  of  execution.  Masson  died  in 
1807. 


PHILIPPE    LAURENT    ROLAND. 

PIIILIPrK  LAUPEXT  POLAND,  a  French  sculptor 
(»f  ability,  was  ])orn  near  Lille  in  174G.  He  early 
showed  his  tah.-nt  for  sculpture,  and  went  to  Paris  for  the 
purjtose  of  study,  wlicre  he  Ixicame  a  pupil  in  the  studio 
of  Pajou.  He  ]trobably  assisted  his  master  in  the  sculp- 
tures upon  the  Palais  Poyal.     Ho  then  repaired  to  Pome, 


206  SCULPTORS  OE  THE  RENAISSANCE.  [1746. 

where  he  remained  for  five  years.  With  the  increased 
facilities  for  improvement  offered  to  the  student  of  art 
there  he  made  great  progress,  and  after  returning  to  Paris 
his  reputation  soon  became  established.  His  sculptures 
are  remarkable  for  purity  of  design  and  facility  of  execu- 
tion. 

In  1781  Roland  was  elected  a  member  of  the  Academy 
for  the  production  of  a  fine  statue  of  Samson.  He  was 
also  made  a  member  of  the  Legion  of  Honor.  For  a  time 
he  was  Professor  of  Sculpture  in  the  Academy  of  Fine 
Arts  at  Paris. 

Among  the  principal  works  of  this  sculptor  should  be 
mentioned  the  bas-reliefs  in  the  apartments  of  the  Queen 
at  Fontaiuebleau,  representing  the  nine  Muses.  A  statue 
of  Homer  in  rhapsody,  accompanying  himself  on  the 
lyre,  in  the  Louvre,  is  much  praised.  A  bust  of  his 
master,  Pajou,  is  also  to  be  seen  in  the  Louvre.  Eoland 
died  in  Paris  in  1816. 


ANNE    SEYMOUR    DAMER. 

ANNE  SEYMOUR  DAMER,  an  English  lady  who 
distinguished  herself  in  sculpture,  was  born  in 
1748.  She  was  the  only  daughter  of  Field- Marshal 
Henry  Seymour  Conway.  When  quite  young  she  devoted 
herself  to  modelling  in  clay  and  wax  with  great  enthu- 
siasm ;  later  she  pursued  the  study  of  anatomy,  and 
learned  to  chisel  in  marble.  In  1767  she  married  John 
Damer,  eldest  son  of  Joseph,  first  Lord  Milton,  but  the 
union  was  not  a  happy  one ;  in  ten  years  her  husband  end- 
ed his  career  of  selfishness  and  extravagance  by  suicide. 


1748.]  AXXE  SEYMOUR  DAAIER.  207 

^Irs.  Darner  renewed  her  iutermpted  study  of  sculpture, 
and  visited  Italy  for  improvement,  studying  and  endeav- 
oring to  imitate  the  pure  style  of  Grecian  art.  She  also 
travelled  in  France  and  Spain.  Her  progi-ess  was  not 
rapid,  and  she  seems  never  to  have  reached  a  high  degree 
of  excellence ;  but  as  the  work  of  a  lady  of  rank  and 
fashion,  and  one  who  took  an  active  and  enthusiastic 
interest  in  politics,  some  of  her  achievements  in  art  are 
remarkable.  She  was  an  ardent  worshipper  of  heroes, 
and  did  her  best  to  immortalize  her  favorites  with  the 
moulding  tool  and  chisel.  Xapoleon  was  her  hero  upon 
the  land,  and  Xelson  upon  the  sea.  She  had  the  pleasure 
of  executing  a  bust  of  Xelson,  and  Xapoleon  promised  to 
sit  to  her,  but  the  stormy  scenes  which  followed  pre- 
vented the  fulfilment  of  the  promise. 

"With  an  unbounded  reverence  for  her  art  and  her 
heroes,  Mrs.  Damer  conceived  the  idea  of  aiding  in  the 
work  of  evangelization  in  the  East  by  setting  up  the 
busts  and  statues  of  Christian  heroes  and  kings  in  jDlace 
of  the  deities  of  Pagan  worship;  and  as  the  first  of  a 
series  she  executed  a  bust  of  Xelson  intended  for  this 
philanthroi)ic  mission. 

There  is  great  inequality  in  the  M-orks  of  this  artist ; 
some  of  them  being  rudely  carved,  while  others  are  skil- 
fully and  carefully  finished.  She  executed  many  portrait 
busts  and  statues,  with  various  mythological  sculptures. 
Among  her  works  are  a  colossal  statue  of  George  III., 
now  in  the  Register  Oflice  in  Edinburgh ;  a  bust  of  her 
mother,  the  Countess  of  Aylesbury,  in  Tunbridge  church ; 
a  bust  of  Xelson,  executed  directly  after  his  return  from 
the  Xile,  now  in  Guildhall;  besides  numerous  busts  of 
noble  personages  and  artists. 

Mrs.  Danicr  was  beautiful  in  person  and  engaging  in 


208  SCULPTORS  OF  THE  RENAISSANCE.  [1748. 

manner,  and,  though  proud  of  her  rank,  she  was  more 
proud  of  her  distinction  as  an  artist.  Her  success  could 
not  be  called  flattering,  but  her  enthusiasm  never  de- 
clined ;  one  of  her  last  requests  was  that  the  implements 
of  her  art  should  be  deposited  in  her  coffin.  She  died  in 
1828. 

In  the  entrance  hall  of  the  British  Museum  is  a  statue 
of  Mrs.  Damer  by  Westmacott. 


CLAUDE    MICHALLON. 

CLAUDE  MICHALLON,  a  French  sculptor  of  some 
distinction,  was  born  at  Lyons  in  1751.  He  studied 
in  Paris,  devoting  himself  to  his  art  with  great  assiduity, 
and  gaining  in  time  the  Grand  Prize,  which  enabled  him 
to  pursue  his  studies  in  Rome.  After  his  return  to  Paris 
he  practised  his  art  with  much  success  for  a  number  of 
years. 

Michallon  had  formed  an  intimate  connection  with 
Jean  Germain  Drouais,  the  distinguished  young  French 
painter  who  died  in  Eome  in  1788,  and  was  commissioned 
to  execute  the  monument  which  was  erected  to  his  mem- 
ory in  S.  Maria  in  Via  Lata. 

While  employed  upon  a  bas-relief  in  the  Theatre  Fran- 
qais  in  Paris,  in  1799,  Michallon  met  his  death  by  a  fall 
from  a  scaffolding. 


1756.]  JOHN   FLAXMAN.  209 


JOHN  FLAXMAN. 

JOHX  FLAXMAX,  one  of  tlie  most  gifted  of  English 
sculptoi"s,  was  born  in  1755,  in  the  city  of  York- 
As  a  child,  he  manifested  the  poetic  and  artistic  tastes 
which  distinguished  him  in  his  mature  years.  He  mod- 
elled in  wa.N:  and  clay,  and  devoted  himself  assiduously 
to  di-awing,  though  without  any  assistance  or  instruction. 
So  successful  was  he  that  at  the  age  of  eleven  he  gained 
a  prize  for  modelling  from  the  Society  for  the  Encour- 
agement of  Arts,  and,  two  years  later,  a  second  prize. 
When  fourteen  years  of  age  he  became  a  student  at  the 
lioyal  Academy,  and  the  same  year  won  the  silver  medal. 

In  London,  young  Flaxman  formed  acquaintances  that 
were  both  agreeable  and  serviceable  to  him.  He  devoted 
liimself  to  study,  and  in  his  early  student  years  laid  the 
foundation  of  that  extensive  classical  knowledge  which 
bore  such  rich  fruits  in  his  art  at  a  later  time. 

lu  17S7,  he  went  to  Italy,  where  he  spent  years  of 
inces.sant  labor  among  the  treasures  of  ancient  art,  the 
spirit  of  which  he  was  well  prepared  to  understand  and 
appreciate.  He  especially  devoted  himself  to  the  study 
of  vase-painting  and  of  Pompeian  mural  decorations. 

In  the  early  part  of  his  artistic  career  he  was  much 
employed  by  Wedgwood  in  designing  and  decorating  the 
famous  "  Jasper  ware."  Some  of  his  most  pleasing  works 
are  his  mythological  designs  for  vases  and  plaques,  and 
they  are  highly  prized  by  collectors. 

Flaxmau's  skill  in  modelling  did  not  equal  his  invent- 
ive genius,  and  his  jiroductions  are  not  all  of  a  high 
degree  of  excellence.  He  ex(!cuted  various  memorial 
wftrks,  which  are  to  be  .seen  in  <lilicrfiiL  lOiigli.sli  churches  ; 

1 1 


210  SCULPTORS  OF  THE  RENAISSANCE.  [i755. 

they  are  marked  by  refinement  of  feeling  and  appropriate 
treatment.  It  is  not,  however,  in  these  works  that  his 
ability  as  an  artist  is  to  be  estimated.  In  his  designs 
from  Homer,  ^schylus,  and  Dante,  the  richness  of  his 
imagination  and  the  creative  power  of  his  genius  are 
shown.  In  these  works  he  stands  perhaps  unrivalled. 
So  vivid  are  his  interpretations  of  the  poet's  thought,  that 
each  series  seems  to  the  student  a  new  revelation  of  the 
author's  purpose.  His  illustrations  from  Homer  show 
the  classic  bias  of  his  mind,  and  also  exhibit  the  highest 
qualities  of  conception.  Those  from  the  tragedies  of 
^schylus,  which  are  a  later  work,  present  a  combination 
of  the  bold  and  dramatic  with  the  graceful  and  lovely, 
bringing  to  the  mind  visions  of  terror  or  of  beauty  by 
touches  more  powerful  than  language.  His  designs  from 
Dante  are  of  thrilling  interest ;  in  the  Triumph  of  Christ, 
the  culmination  of  the  "  Paradise,"  he  has  portrayed  a 
scene  of  majesty  and  celestial  splendor  which  would 
entitle  him  to  a  place  among  the  most  gifted  authors  of 
the  religious  art  of  the  Eenaissance. 

Examples  of  Flaxman's  sculptures  in  marble  are  to  be 
seen  in  several  English  collections.  His  last  work  was  a 
series  of  designs  for  the  exterior  decoration  of  Bucking- 
ham Palace. 

In  1800  he  was  elected  a  member  of  the  Eoyal  Acad- 
emy, and  in  1810  was  appointed  Professor  of  Sculpture, 
the  professorship  having  been  created  expressly  for  him. 
He  was  greatly  esteemed,  not  only  for  his  talents,  but 
for  his  purity  of  character  and  life,  and  for  his  delight- 
ful social  qualities.  His  wife  was  an  amiable  and  ac- 
complished woman,  whose  love  of  art  was  an  added 
inspiration  in  all  his  labors. 

He  died  in  1826. 


im]  ANTONIO  CANOVA.  -^1 


ANTONIO    CANOVA. 

AXTOXIO  CAXOVA  was  born  in  1757  in  Possagno, 
an  obscure  village  among  tlie  Venetian  Alps  near 
the  plains  of  Treviso.  He  was  the  only  child  of  Paetro 
Canova,  a  stone-cutter  in  humble  circumstances.  "When 
Antonio  was  very  young  his  father  died,  and  his  mother, 
forming  a  second  marriage,  left  him  to  tlie  care  of  his  pa- 
ternal grandparents.  His  grandfather,  Pasino  Canova, 
appears  to  have  been  a  man  of  somewhat  remarkable 
character,  and  quite  an  artist,  though  entirely  self-taught. 
He  no  doubt  did  much  in  turning  the  young  mind  of  An- 
tonio towards  the  pursuits  that  he  loved,  and  instructed 
him  in  the  rudiments  of  art  as  far  as  he  was  able.  His 
iirandmother  tended  his  delicate  childhood  with  the  most 
affectionate  care,  and  watched  his  development  with  the 
kindest  solicitude.  She  lived  to  witness  his  success,  and 
he  in  turn  ministered  to  her  in  her  age  and  helplessness. 
He  kept  in  his  apartments  at  Ptome  a  bust  of  his  grand- 
mother sculptured  in  the  dress  of  her  native  province. 
Pointing  it  out  to  a  visitor  upon  one  occasion,  he  said  : 
"  That  is  a  piece  which  I  greatly  value ;  it  is  the  likeness 
of  her  to  whom  I  owe  as  much  as  it  is  possible  for  one 
human  being  to  owe  another." 

As  a  child,  Canova  was  more  fond  of  spending  his 
time  in  his  grandfather's  workshop  than  in  playing  with 
the  youths  of  the  village,  for  which  he  received  the  name 
of  "  sullen  Tonin."  He  made  early  essays  in  modelling 
in  clay,  and  even  executed  some  small  works  in  marble 
before  his  tenth  year.  Near  the  village  of  Possagno,  at 
the  foot  of  the  Alps,  were  several  residences  occupied  by 
the  Venetian  nobility  during  a  portion  of  the  year,  and 


212  SCULPTORS  OF  THE  RENAISSANCE.  [hot. 

Pasino  Canova  was  often  employed  in  making  repairs  or 
embellishments  upon  these  villas,  in  which  he  was  as- 
sisted by  young  Antonio.  At  the  residence  of  Senator 
Giovanni  Falier  the  boy  became  a  great  favorite,  and 
was  taken  under  the  special  protection  of  this  kind  bene- 
factor. When  he  was  twelve  years  old,  by  the  wish  of 
his  patron,  he  was  placed  with  Toretto,  a  sculptor  of 
Venice,  who  was  living  at  that  time  in  Possagno.  He 
remained  under  this  instruction  for  two  years,  devoting 
himself  in  a  manner  which  gave  proof  of  his  talent  and 
his  love  for  sculpture.  He  executed  at  this  period  many 
drawings  and  models  which  are  still  in  existence ;  among 
them  the  figures  of  two  Angels,  which  he  finished  en- 
tirely without  assistance  or  models.  He  won  the  ap- 
plause of  his  master  for  this  performance,  and  from  these 
models  Pasino  Canova  executed  figures  in  marble,  which 
were  placed  in  the  church  of  Monfermo,  a  town  at  some 
distance  from  Possagno.  During  this  period  he  made  his 
first  representations  of  the  human  form  in  marble. 

It  would  seem  that  the  intention  of  Senator  Falier  was 
simply  to  assist  young  Canova  to  become  a  skilful  work- 
man ;  and  after  the  return  of  Toretto  to  Venice  there  re- 
mained nothing  for  him  but  to  establish  himself  in  a 
workshop,  and  spend  his  life  toiling  in  his  native  village. 
In  his  intimacy  at  the  Falier  villa  he  had  formed  a  familiar 
friendship  with  the  younger  son  of  the  Senator,  and  the 
elder  son,  Giarabatista,  was  also  interested  in  the  young 
sculptor.  Through  the  superior  influence  of  Giambatista 
over  his  father,  Canova  two  years  later  received  an  in- 
vitation to  Venice  to  pursue  his  studies,  and  was  desired 
to  consider  the  Falier  palace  as  his  home,  and  to  accept 
from  his  patron  whatever  was  needed  for  his  education 
and   maintenance..    Gratitude   was   one   of  the   marked 


17W.]  -  ANTONIO   CANOVA.  213 

traits  of  Canovca's  character,  and  the  j'ouuger  Falier  once 
said  that  he  never  received  a  letter  from  him  in  which 
the  sculptor  did  not  gratefully  allude  to  this  timely  inter- 
cession of  Giambatista  in  his  behalf  AVith  joy  he  ac- 
cepted the  invitation,  and  M'as  soon  established  with  a 
Venetian  master  in  the  study  and  practice  of  his  art ;  but 
with  characteristic  independence  he  labored  a  part  of  each 
day  for  his  master,  thus  earning,  in  part,  the  supply  of 
his  wants,  wliich  were  few.  Of  this  period  he  said  :  "  I 
labored  for  a  mere  pittance,  —  but  it  was  sufficient.  It 
was  the  fruit  of  my  own  resolution  ;  and,  as  I  flatter  my- 
self, the  foretaste  of  more  honorable  rewards,  —  for  I 
never  thought  of  wealth." 

Established  in  Venice,  a  new  field  of  improvement 
opened  to  him ;  he  spent  his  mornings  in  studies  at  the 
Academy,  or  at  the  Farsetti  Gallery,  while  the  afternoons 
were  spent  in  his  master's  workshop.  His  evenings  were 
devoted  to  the  improvement  of  his  general  education, 
which  had  been  somewhat  neglected.  In  his  art  he  pro- 
gressed slowly  ;  but  with  a  noble  ambition  to  excel,  and 
with  the  conviction  that  excellence  was  only  to  be  at- 
tained through  unceasing  industry,  he  in  time  achieved 
what  more  brilliant  talents  have  failed  to  accomplish. 
He  devoted  much  time  to  the  study  of  anatomy,  and  he 
drew  and  moilelled  diligently  from  the  human  figure.  In 
nature  he  studied  form  and  expression,  and  wherever  he 
went  he  was  constantly  observing  attitudes  and  action  to 
guide  him  in  his  practice.  Such  was  his  devotion  to  his 
art,  that  for  many  years  he  adhered  to  a  resolution  which 
he  had  fonned  never  to  allow  himself  repose  till  he  had 
each  day  produced  some  design. 

Among  other  works  executed  in  Venice  was  the  group 
of  Daedalus  and   Icarus.     It  exhibits  his  failhrul  adhe- 


214  SCULPTORS  OF  THE  RENAISSANCE.  [i757. 

rence  to  nature,  but  without  a  careful  selection  of  the 
models.  Tlie  group  was  intended  for  a  niche  in  the  cen- 
tral pillar  between  the  double  entrance  doors  of  the  united 
palaces  of  Pisani  and  Barbarigo,  fronting  the  Grand  Canal, 
but  Avhen  it  was  finished  the  owner  was  unwilling  it 
should  be  placed  in  a  position  in  which  it  might  be  in- 
jured by  exposure,  and  it  was  placed  in  the  Barbarigo 
collection,  though  it  is  now  in  the  Pisani  palace. 

In  1780  he  went  to  Eome,  where  he  greatly  improved 
his  style  by  the  study  of  the  antique.  His  study  of  na- 
ture was  well  supplemented  by  a  study  of  the  magnifi- 
cent remains  of  sculpture  there,  and  he  improved  these 
opportunities  with  his  characteristic  energy  and  devotion. 
To  the  study  of  the  ancient  statues  in  the  various  col- 
lections he  devoted  a  portion  of  each  day,  spending  the 
remainder  in  the  seclusion  of  his  studio,  endeavoring  to 
embody  his  impressions  and  conceptions.  He  would  fre- 
quently be  found  at  dawn  in  the  court  of  the  Capitol,  or 
on  Monte  Cavallo,  with  sketch-book  or  modelling  appara- 
tus. His  taste,  however,  led  him  more  to  the  cultivation 
of  the  elegant  and  the  graceful,  and  he  evidently  lacked 
an  elevated  appreciation  of  spiritual  beauty.  This  want 
is  felt  in  his  finest  works.  The  sentimentally  pretty,  the 
soft,  and  the  sensual  too  strongly  predominate,  and  the  ef- 
fects of  grandeur  and  repose  were  beyond  his  attainment. 
These  faults  were  in  part  due  to  the  sentiment  of  the 
times  in  which  he  lived. 

Soon  after  his  arrival  in  Eome  he  commenced  his  cele- 
brated work,  Theseus  conquering  the  Minotaur,  now  in 
the  so-called  Theseus  Temple  in  the  Volksgarten  at 
Vienna.  Theseus  is  represented  nude,  with  the  excep- 
tion of  a  Grecian  helmet  and  a  mantle  thrown  over  the 
left  arm.     His  face  is  full  of  rage  and  scorn,  and  his  fig- 


17CT.]  ANTONIO  CANOVA.  215 

lire  is  expressive  of  much  strength  and  activity,  though 
somewhat  theatrical  in  attitude.  But  with  all  the  expres- 
sion and  jtower  with  which  the  artist  has  invested  The- 
seus, the  most  moving  part  of  tlie  gi'oup  is  the  prostrate, 
suliering,  almost  quivering  form  of  the  IMinotaur.  Every 
muscle  is  alive  with  agony  ;  the  legs  are  crushed  beneath 
the  fallen  body,  and  the  head,  bent  far  back  by  the  mer- 
ciless grasp  of  the  vanquisher,  is  full  of  helpless  suflering, 
while  the  weak,  almost  lifeless  arm  stretches  for  a  last 
support  to  the  ground.  In  the  same  connection  may  be 
mentioned  the  Perseus  with  the  head  of  JMedusa,  in  the 
Belvedere  of  the  Vatican.  This  is  a  beautifully  finished 
statue,  in  which  the  artist  evidently  imitated  the  Apollo 
Belvedere.  It  is  somewhat  weak  and  affected,  and  would 
scarcely  seem  to  merit  the  honor,  which  it  received,  of 
occupying  the  place  of  the  ApoUo  when  that  statue  was 
carried  away  by  the  French.  So  greatly  was  it  admired, 
however,  and  so  far  did  it  compensate  for  the  loss  of  the 
Apollo,  that  it  received  the  title  of  Consolatrice.  The 
head  of  Medusa  is  that  of  a  young  and  beautiful  w^oman 
with  the  serpents  arranged  about  her  face  like  clustering 
hair.  Viardot  says  :  "  Faithful  to  the  Grecian  type,  and 
taking  the  antique  Medusa  of  IVIunich  for  his  model, 
Canova  succeeded  in  combining  moral  deformity  with 
physical  beauty,  and  has  given  his  Gorgon  that  expres- 
sion of  freezing  disdain  whicli  pierces  the  soul,  and  may 
be  fatal."  Canova's  Pugilists,  two  clumsy  and  brutal  fig- 
ures, are  in  the  same  gallery. 

In  tlie  Borghese  Gallery  is  his  Venus  Victrix,  a  half- 
recumbent  figure  with  the  features  of  Pauline  Bona- 
parte. A  statue  of  Letizia,  tlie  mother  of  Napoleon,  is  in 
the  collection  of  the  Duke;  of  Devonsliire  in  London. 
This  is  a  noble  figure  in   an  attitude  of  serene  repose. 


216  SCULPTORS  OF  THE  RENAISSANCE.  [1757. 

and  may   be   classed   among   Canova's    most   successful 
works. 

Hebe,  the  goddess  of  youth,  is  one  of  his  most  poetic 
creations.  The  elegant  form,  the  light  and  buoyant  atti- 
tude, and  above  all  the  joyous  expression  of  the  face,  is 
quite  unlike  the  sweet  insipidity  of  many  of  his  ideal 
female  faces.  The  lower  part  of  the  figure  is  covered 
with  a  light  drapery,  which  does  not  interfere  witli  the 
springing,  floating  movement ;  in  one  hand  slie  lifts  high 
the  vase  of  ambrosia,  and  in  the  other  holds  the  goblet. 
The  artist  expressed  his  intention  of  indicating  the  fleet- 
ing nature  of  human  existence,  particularly  the  delightful 
stage  of  youth,  by  thus  representing  the  rapid,  gliding 
motion  of  the  goddess.  One  of  these  statues  is  in  the 
Museum  of  Berlin. 

In  a  figure  of  Psyche  Canova  combined  in  an  unusual 
manner  the  utmost  grace  and  beauty  of  form  with  an 
exalted  spiritual  beauty.  In  the  expression  of  this  statue 
he  has  portrayed  the  refined  and  ennobling  delights 
which  accompany  the  exercise  of  the  higher  faculties  of 
the  soul,  and  it  must  rank  above  most  of  his  creations 
of  female  grace  and  beauty.  It  is  in  the  royal  palace 
at  Munich.  Most  of  his  ideal  female  figures,  Venuses, 
Graces,  and  Nymphs,  pall  upon  the  taste  of  the  spectator ; 
and  though  in  these,  as  well  as  in  other  ideal  works,  he 
sometimes  shows  a  close  imitation  of  antique  sculpture, 
it  is  often  but  an  exaggeration  of  its  defects. 

Some  of  Canova's  monumental  works  are  of  great  excel- 
lence. The  finest  of  his  sepulchral  monuments  is  that  of 
the  Arcliduchess  Maria  Christina  of  Austria,  in  the  church 
of  the  Augustines,  at  Vienna.  It  consists  of  a  pyramid 
of  grayish  marble  upon  a  square  base,  with  two  steps 
leading  to  a  doorway  in  the  centre  of  tlie  tomb.     In  front 


17OT.]  ANTONIO   CANOVA.  217 

of  the  entrance  is  a  heavily  draped  figure  of  Virtue  bend- 
ing in  sorro^Yful  attitude  above  an  urn  Avhich  she  bears 
in  her  liauds.  On  either  side  of  this  ti^ure  are  mournintr 
virgins  bearing  garlands  and  torches.  On  the  steps 
below,  at  the  left  of  this  group,  is  a  figure  of  Beneficence, 
upon  whose  arm  is  leaning  an  infirm  old  man,  while  near 
them  is  a  child  in  the  attitude  of  devotion.  Above  is  a 
figure  of  Felicity  with  an  attendant  cherub  bearing  the 
portrait  of  the  princess.  Leaning  against  the  body  of  a 
couchaut  lion  is  the  tutelary  genius  of  Saxony  mourn- 
fuUy  regarding  the  funereal  train ;  this  figure  is  very 
Ijeautiful  and  touching,  —  more  so  than  the  much-praised 
mourning  genius  upon  the  monument  of  Clement  XIII. 
at  Rome.  Though  somewhat  theatrical  and  ostentatious 
the  monument  of  the  Archduchess  ]\Iaria  Christina  lias 
a  picturesque  harmony  of  arrangement,  and  in  parts  is 
very  beautiful. 

Next  in  merit  among  his  works  of  this  class  is  the 
monument  of  Pope  Clement  XIII.,  in  St.  Peter's,  and  it 
is,  perhaps,  as  a  whole  more  pleasing  to  a  refined  taste. 
There  is  an  air  of  rejiose  and  solemnity  which  is  appro- 
priate and  satisfying.  The  base  is  divided  in  the  centre 
by  a  door  and  has  two  gradations.  On  one  side  is  a  figure 
of  Pieligion,  and  at  her  feet  couches  a  watchful  lion ;  on 
the  other  side  reclines  a  mourning  genius  with  inverted 
torch,  at  his  feet  a  sleeping  lion.  Above  is  tlie  sar- 
cophagus upon  which  kneels  the  figure  of  Kezzonico;  his 
venerable  head  is  bare,  and  the  reverent  attitude  well 
expresses  the  piety  for  which  he  was  eminent.  The  tiara 
is  placed  in  i'ront  of  him,  and  the  ])ontifical  robes  I'all 
around  his  figure  in  rich  and  simjJe  folds.  To  this  work 
Canova  devoted  nearly  five  years  of  diligent  study  and 
labor,  the  work  being  almost  entirely  by  his  own  liand. 


218  SCULPTORS  OF  THE  RENAISSANCE.  [hot. 

In  the  execution  of  the  mourning  genius  the  sculptor 
took  great  delight,  laboring  to  finish  it  in  the  most 
exquisite  manner.  After  he  had  been  for  some  time 
working  upon  it,  a  discoloration  appeared  in  the  marble, 
which  was  therefore  thrown  aside,  and  a  more  perfect 
block  obtained,  at  considerable  cost  of  time  and  money. 
This  statue  is  referred  to  by  Madame  de  Stael  in  Co- 
rinne :  —  "  Corinne,  en  contemplant  ce  Genie  crut  y  trou- 
ver  quelque  ressemblance  avec  Oswald."  This  figure  is 
of  a  soft,  effeminate  beauty,  and  has  been  greatly  over- 
praised.    The  figure  of  Eeligion  is  not  a  lofty  conception. 

The  tomb  of  Clement  XIV.  (Ganganelli),  in  St.  Peter's, 
is  also  the  work  of  Canova.  Upon  each  side  of  the  urn 
is  a  female  figure,  representing  Innocence  and  Moderation. 
Above,  in  an  antique  chair,  is  the  seated  figure  of  the 
Pope,  his  right  hand  extended  "  in  attitude  of  command- 
ing—  of  pacifying  —  of  protecting." 

At  the  special  request  of  Napoleon  Canova  visited 
Paris,  where  he  was  received  with  great  honors  and  was 
made  a  member  of  the  Institute.  While  there  he  mod- 
elled a  colossal  statue  of  Napoleon,  which  was  executed 
in  marble  some  years  later,  and  became  the  property  of 
the  Duke  of  Wellington.  It  represents  Napoleon  as  a 
Eoman  Emperor,  and  is  a  very  imposing  figure ;  in  the 
left  hand  he  holds  a  long  staff,  and  in  the  right  a  statue 
of  Victory.  A  fine  copy  in  bronze  is  in  the  court  of  the 
Brera  at  Milan.  A  copy  of  the  head  in  marble  by  Ca- 
nova is  in  the  Corcoran  Gallery  at  Washington. 

For  the  State  of  North  Carolina  Canova  executed,  about 
1818,  a  statue  of  Washington  which  is  a  fine  work. 
Memes,  in  his  Life  of  Canova,  says  of  it :  "  The  noble 
statue  of  Washington  ....  is  interesting,  as  the  first 
piece  of  sculpture  executed  in  the  Old  and  publicly  com- 


17W.]  ANTONIO  CANOVA.  219 

missioned  in  the  Xew  "World ;  thus  uniting  by  the  fame 
of  one  inelividual  the  arts  of  both  hemispheres.  The  in- 
trinsic beauty  equally  recommends  the  work  to  notice. 
Seated,  and  arrayed  in  the  imposing  garb  of  an  ancient 
Koman,  the  Liberator  of  America  is  inscribing  on  a  tab- 
let his  last  instructions,  —  'George  Washington  to  the 
United  States,'  appearing  already  written.  With  the 
antique  majesty  of  costume,  the  mild  and  dignified 
benevolence  of  the  countenance  finely  accords,  —  telling 
more  plainly  than  the  sword  and  sceptre  on  which  he 
tramples,  that  the  happiness  of  nations,  not  the  aggran- 
dizement of  an  individual,  urged  him  to  unsheathe  the 
one  and  to  reject  the  other." 

Canova  sculptured  the  kneeling  figure  of  Pius  VI.  be- 
fore the  "  Confession "  in  St.  Peter's.  This  figure  of 
Angelo  Braschi,  the  deposed  Pope,  who  in  his  captivity 
ordered  this  statue,  its  attitude  and  place,  is  one  of  the 
latest  works  of  Canova,  and  is  of  great  excellence. 
During  his  last  illness  it  was  in  the  sculptor's  thoughts, 
as  there  were  certain  finishing  touches  which  he  had 
intended  to  give  it,  and  must  now  regret  his  inability. 

In  liome  Canova  was  greatly  honored.  He  was  made 
President  of  the  Academy  of  St.  Luke,  and  in  1816  he 
received  the  title  of  Marquis  of  Ischia,  with  an  annual 
pension  of  three  tliousaud  crowns.  The  Pope  inscribed 
the  name  of  Canova  with  his  own  hand  in  the  Golden 
Volume  (the  book  c(jntaining  the  names  of  the  IJoman 
nobles,  preserved  among  the  archives  of  the  Capitol). 

Canova  was  a  man  of  singularly  pure  and  blameless 
life.  In  spite  of  all  the  honors  that  were  bestowed  upon 
him,  lie  was  not  moved  from  his  native  simplicity  and 
modesty  of  bearing.  He  was  a  truly  religious  man, 
always  acknowledging  with  humility  the  overruling  of  a 


220  SCULPTORS  OF  THE  RENAISSANCE.  [i7OT. 

good  and  all-wise  Providence  in  all  the  affairs  of  life. 
During  the  last  years  of  his  life  he  occupied  himself  with 
the  erection  and  adornment  of  a  beautiful  temple  of  wor- 
ship in  his  native  village  of  Possagno.  It  stands  upon 
the  summit  of  a  gentle  elevation,  a  circular  structure 
with  a  portico  of  the  Grecian  Doric  order,  and  adorned 
with  reliefs  representing  scenes  from  sacred  history,  from 
designs  and  models  by  the  sculptor.  These  reliefs  repre- 
sent the  Creation  of  the  World,  the  Creation  of  Man,  the 
Death  of  Abel,  the  Sacrifice  of  Abraham,  the  Annuncia- 
tion, the  Visitation,  and  the  Purification  of  the  Virgin. 
They  were  executed  in  marble  by  seven  Venetian  sculp- 
tors ;  the  models  are  in  the  Academy  of  Venice.  The 
church  contains  an  altar-picture  by  Canova,  representing 
the  Descent  from  the  Cross.  A  Pieta  which  he  modelled 
for  the  interior  of  the  choir  was,  after  his  death,  executed 
in  marble.  He  died  in  1822,  and  was  buried  in  the 
temple  at  Possagno.  Nearly  thh'ty  years  earlier  Canova 
had  made  a  model  for  a  monument  to  Titian,  at  the  request 
of  individuals  who  were  endeavoring  to  raise  a  fund  for 
the  purpose.  The  attempt  had  failed,  and  the  model  had 
never  been  appropriated.  After  his  death  the  artists  of 
Venice,  as  the  guardians  of  his  fame,  made  arrangements 
for  the  erection  of  a  monument  to  him,  and  his  own 
model  for  the  tomb  of  Titian  was  chosen.  It  was  exe- 
cuted by  his  pupils  and  placed  in  S.  Maria  dei  Frari.  In 
the  assembly  hall  of  the  Venetian  Academy  of  Fine  Arts 
is  an  elegant  vase  of  porphj^y  containing  the  sculptor's 
right  hand. 

Canova  was  a  man  of  great  benevolence,  and  was 
especially  the  willing  patron  and  benefactor  of  struggling 
artists.  To  expressions  of  gratitude  he  would  say :  "  For- 
bear acknowledgment,  you  owe  me  nothing, —  I  only  now 


17CT.]  ANTONIO  CANOVA.  221 

perform  a  duty,  because  fortune  has  enabled  me  to  do  so, 
wliicli  hereafter  others  will  claim  from  you."  He  rejoiced 
in  the  progress  of  art  and  in  the  success  of  other  artists. 
AVhen  urged  to  refute  some  injurious  criticisms  of  his 
own  works,  which  had  appeared  in  the  public  journals, 
he  answered :  "  ]\ly  works  are  before  the  public,  and  that 
public  has  every  right  to  pass  judgment  upon  them;  but 
for  my  own  part,  it  is  my  resolution  not  to  reply  to  any 
criticism  whatsoever,  otherwise  than  by  exerting  every 
efibrt  to  do  better." 

Canova  remained  unmaiTied,  though  twice  on  the  eve 
of  marriage,  it  is  said.  For  the  last  twenty  years  of  liis 
life  his  half-brother  was  his  sole  companion  and  confidant, 
and  at  his  death  became  the  distributor  of  his  remaining 
property.  The  name  of  Canova,  so  honored  in  the  sculp- 
tor's lifetime,  is  now  extinct. 


JOHANN   HEINRICH  DANNECKER. 

J  OH  ANN  HEIXrJCH  DxVXXECKEK  was  born  at 
"VValdenbuch,  in  the  district  of  Stuttgart,  in  1758. 
His  parents  were  in  very  humble  circumstances.  His 
father  was  a  groom  in  the  stable  of  the  Duke  of  Wiir- 
temberg,  and  seems  to  have  been  a  coarse,  unamiablc 
man,  with  no  wisli  for  his  son  to  become  fitted  for  a 
liigher  station  in  life  than  tlie  one  occupied  by  himself. 
Hi.s  motlier,  on  the  contrary,  perceived  and  fostered  the 
dawning  asi)irations  and  talents  of  her  son,  and  to  her  he 
attributed  the  first  elevating  inlhiences  of  which  he  was 
conscious.  WIkmi  young  he  learned  to  read  and  write, 
but  how  this  wa.s  accomplished  he  could  not  liimself  re- 


222  SCULPTORS  OF  THE  RENAISSANCE.  [i758. 

member  in  after  years.  Near  his  father's  house  there 
lived  a  stone-cutter,  and  among  the  marble  and  freestone 
he  found  means  for  indulging  his  tastes  in  a  rude  fashion, 
though  beaten  for  it  as  a  proof  of  idleness.  When  he  was 
old  enough  to  be  of  service  as  a  stable-boy,  he  assisted 
his  father  for  a  time.  When  he  was  about  thirteen  years 
of  age  the  Duke  decided  to  admit  the  children  of  his  do- 
mestics to  the  military  school  which  had  been  founded  by 
the  Duke  Charles  Eugene  in  1761,  called  the  Karl  Schille, 
where  not  only  military  tactics  were  taught,  but  music  and 
drawing.  Young  Dannecker  was  eager  to  offer  himself  as 
a  candidate,  and,  though  bitterly  opposed  by  his  father, 
received  the  sympathy  and  assistance  of  his  mother,  who 
prepared  his  scanty  outfit,  and  accompanied  him  with 
blessings  and  encouragement  on  his  way  to  the  Academy 
adjoining  the  Hunting  Palace  of  the  Solitude.  Here, 
however,  he  made  but  little  progress,  for  the  establish- 
ment was  badly  managed,  and  the  poorer  pupils  were 
obliged  to  perform  the  most  servile  offices.  Schiller  was 
a  lad  in  the  same  school,  and,  perhaps  at  first  drawn 
together  as  fellow-sufferers,  a  friendship  was  formed  be- 
tween him  and  Dannecker  which  lasted  through  life. 

When  Dannecker  was  about  fifteen  the  Karl  Schiile 
was  removed  to  Stuttgart,  and  he  was  placed  under  the 
instruction  of  Grubel,  a  professor  of  sculpture,  and  not 
long  after  he  produced  his  first  original  composition,  a  clay 
model  of  Milo  of  Crotona,  which  gained  for  him  the  first 
prize.  After  this  for  some  years  he  was  employed  in  the 
service  of  the  Duke,  executing  decorations  for  various 
palaces  in  process  of  erection.  At  length  he  obtained  per- 
mission to  travel  for  study  and  improvement,  with  a  small 
allowance  from  the  Duke,  and  he  set  out  for  Paris  on  foot. 
His  enthusiastic  love  for  art  sustained  him  under  the 


im]  JOHANN  HEINRICH  DANNECKER.  223 

sharpest  privations  and  trials  there,  and  hungry  and  ill- 
clad  he  labored  day  after  day  in  the  Louvre.  Two  years 
of  study  and  experience  among  the  opportunities  offered 
to  the  young  artist  in  Paris  tended  greatly  to  the  develop- 
ment of  his  talent,  and,  best  of  all,  he  retained  his  native 
purity  and  simplicity  of  heart. 

In  1783  Dannecker's  small  annuity  was  somewhat  in- 
creased, enabUug  him  to  go  to  Home,  and  he  again  set  out 
on  foot  for  the  goal  of  his  desires.  Alone  and  friendless 
in  Eome  he  was  at  first  often  discouraged  and  heartsick ; 
but  he  in  time  found  friends,  whose  companionship  not 
only  cheered  and  encouraged  him,  but  assisted  in  reveal- 
ing to  the  artist  his  own  latent  powers,  —  among  them 
Goethe,  who  was  then  residing  there,  and  Canova,  who  had 
already  distinguished  himself  as  a  sculptor,  and  to  whom 
Dannecker  became  indebted  for  valuable  aid  in  his  art. 
He  remained  for  five  years  in  Eome,  and  then  was  re- 
called to  Stuttgart  by  the  Duke,  wlio  appointed  him  Pro- 
fessor of  Fine  Arts  in  the  Academy,  and  employed  him  in 
various  ways.  It  is  said  that  at  one  time  he  might  have 
entered  the  service  of  the  king  of  Bavaria,  and  been 
jjlaced  at  the  head  of  the  School  of  Sculpture  at  Munich, 
but  the  artist's  love  for  his  native  city  and  his  early 
patrons  prevailed  over  all  considerations  of  ambition. 
He  married,  and  passed  his  life  at  Stuttgart,  in  a  round 
of  constant,  but  tranquil  occupation. 

Dannecker's  works,  which  consist  mostly  of  single  fig- 
ures, are  remarkable  for  grace  and  beauty  of  form  and 
attitude,  especially  his  female  figures ;  and  though  in  his 
earlier  Wfjrks  he  sometimes  was  led  into  over-elegance  in 
the  treatment  (jf  tlie  hair  and  of  drapery,  his  later  works 
are  marked  Ijy  a  classic  purity  of  style.  His  early  pro- 
ductions were  chiefly  mythological  in  character,  but  later 


224  SCULPTOES  OF  THE  RENAISSANCE.  [i758. 

in  life  he  devoted  himself  to  the  treatment  of  Christian 
subjects,  which  he  invested  with  a  pensive  idealism.  He 
did  not  produce  a  great  number  of  works,  but  appears  to 
have  bestowed  much  time  and  labor  upon  the  few  which 
will  render  his  name  immortal.  He  w^as  much  occupied 
with  portraiture,  for  which  department  of  his  art  he  was 
peculiarly  fitted.  His  bust  of  Lavater  is  in  the  Library 
at  Zurich ;  one  of  his  friend  Schiller  is  in  the  Art  School 
at  Stuttgart. 

Mrs.  Jameson,  who  visited  Dannecker  in  1833,  thus 
describes  that  part  of  the  interview  relating  to  the  exe- 
cution of  the  bust  of  Schillej" :  —  "  While  I  sat  looking 
at  the  magnificent  head  of  Schiller,  the  original  of  the 
multifarious  casts  and  copies  which  are  dispersed  through 
all  Germany,  he  sat  down  beside  me,  and,  taking  my 
hands  between  his  own,  which  trembled  with  age  and 
nervous  emotion,  he  began  to  speak  of  his  friend.  '  Nous 
etions  amis  des  I'enfance ;  aussi  j'y  ai  travaille  avec  amour, 
avec  douleur,  on  ue  pent  pas  plus  faire.'  He  then  went 
on :  '  When  Schiller  came  to  Louisberg,  he  sent  to  tell 
me  that  he  was  very  ill,  —  that  he  should  not  live  very 
lons[,  and  that  he  wished  me  to  execute  his  bust.  It  was 
the  first  wish  of  my  own  heart.  I  went  immediately. 
When  I  entered  the  house,  I  found  a  lady  sitting  on  the 
canarp^,  —  it  was  Schiller's  wife,  and  I  did  not  know  her ; 
but  she  knew  me.  She  said,  "  Ah  1  you  are  Dannecker ! 
—  Schiller  expects  you."  Then  she  ran  into  the  next 
room,  where  Schiller  was  lying  down  on  a  couch,  and  in 
a  moment  after  he  came  in,  exclaiming  as  he  entered, 
"  Where  is  he  ?  where  is  Dannecker  ?  "  That  was  the 
moment,  —  the  expression  I  caught,  —  you  see  it  here,  — 
the  head  raised,  the  countenance  full  of  inspiration,  and  af- 
fection, and  bright  hope  !     I  told  him  that  to  keep  up  this 


1753]  JOllAXN    IIEINRICII   DAXNECKER.  225 

expression  he  must  have  some  of  his  best  friends  to  con- 
verse Avith  him  while  I  took  the  model,  for  I  could  not  talk 
and  work  too.  0,  if  I  could  but  remember  what  glorious 
things  then  fell  from  those  lips  !  Sometimes  I  stopped 
in  my  work,  —  I  could  not  go  on,  —  I  could  only  listen  ? ' 
And  here  the  old  man  wept ;  then,  suddenly  changing  his 
mood,  he  said, '  But  I  must  cut  oft'  that  long  hair ;  he 
never  wore  it  so  ;  it  is  not  in  the  fashion  you  know  ! '  I 
begged  him  for  Heaven's  sake  not  to  touch  it ;  he  then, 
with  a  sad  smile,  turned  up  the  sleeve  of  his  coat,  and 
showed  me  his  wrist,  swelled  with  the  continual  use  of 
his  implements,  —  '  You  see  I  cannot  !  '  And  I  could 
not  help  wishing,  at  the  moment,  that,  while  his  mind 
was  thus  enfeebled,  no  transient  return  of  physical 
strength  might  enable  him  to  put  his  wild  threat  in 
execution."  The  hair  upon  this  fine  head  was,  however, 
l>artially  mutilated  by  the  sculptor. 

Among  Dannecker's  most  celebrated  works  is  his  statue 
of  Christ,  upon  which  he  labored  with  great  enthusiasm, 
and  which  he  evidently  regarded  as  his  crowning  work. 
He  believed  himself  to  liave  been  divinely  appointed  and 
inspired  for  this  work,  the  ideal  having  appeared  to  him 
in  a  dream  at  three  difierent  times.  For  eight  years  it 
absorbed  the  thoughts  and  energies  of  the  sculptor,  and 
when  the  statue  was  completed  he  felt  assured  that  he 
had  .succeeded  iii  overcoming  all  difficulties  by  Divine  as- 
si.stance  and  a  diligent  study  of  the  Scriptures.  He  was 
sometimes  asked  where  were  the  models  after  which  he 
worked  ;  and  he  would  re])l\', "  /A/v,  and  Jure,"  — laying 
his  liand  ui)on  his  head,  and  tlien  upon  his  heart.  It  is  a 
slender  and  dcjlicate  figure,  standing  in  a  sliglitly  droop- 
ing attitude,  entirely  envelojXMl  in  a  flowing  robo.  He 
endeavored  to  create  an  ideal  in  which  the  moral  and 


k^  A.1A.  liM 


226  SCULPTORS  OF  THE  RENAISSANCE.  [i758. 

intellectual  faculties  should  be  in  full  development,  while 
suppressing  everything  that  could  indicate  the  existence 
of  animal  nature.  Perhaps  his  success  was  as  great  as 
has  ever  been  achieved  in  such  representations ;  but  to 
eliminate  certain  faculties  for  embodiment,  though  they 
be  the  highest,  must  fall  short  of  the  Christian  ideal, 
which  can  be  nothing  less  than  the  whole  nature  elevated 
and  sanctified.  The  original  statue  is  in  the  possession 
of  the  Emperor  of  Eussia.  The  artist  repeated  it  for  the 
monument  of  the  Prince  of  Thurn  and  Taxis,  in  St.  Em- 
meram,  in  Eatisbon. 

Some  charming  mythological  works  of  Dannecker  are 
to  be  seen  in  the  Eosenstein  palace  near  Stuttgart.  His 
celebrated  Ariadne  is  in  the  Bethmann  Museum,  or,  as  it 
is  called,  the  Ariadneum,  at  Frankfort.  This  is  generally 
regarded  as  the  sculptor's  masterpiece,  and  the  inhabit- 
ants of  Frankfort  greatly  pride  themselves  upon  its  pos- 
session, though  it  was  a  disappointment  to  Dannecker 
that  it  should  not  remain  in  his  native  city.  The  author 
did  not  choose  the  more  touching  and  poetic  character  in 
which  to  represent  Ariadne  :  she  is  no  longer  the  aban- 
doned and  desolate  one,  but  the  triumphant  bride  of  the 
god  of  the  vintage.  She  is  half  sitting,  half  lying,  upon 
the  back  of  a  clumsy,  mythological  panther,  upon  the 
head  of  which  one  arm  rests  lightly,  while  the  hand  holds 
the  falling  drapery.  The  body  and  limbs  are  finely  mod- 
elled, and  the  attitude  is  very  graceful  and  pleasing.  The 
whole  group  is  of  the  most  exquisite  finish.  The  pose  of 
the  head  and  the  arrangement  of  the  coiffure  give  it  a 
somewhat  jaunty  air,  though  this  is  hardly  out  of  har- 
mony with  the  airy  repose  of  the  figure. 

Dannecker  was  an  artist  of  the  most  pure  and  noble 
aims,  disdaining  to  use  his  talents  for  unworthy  ends. 


1758.]  JOHANN  HEINRICn  DANNECKER.  227 

He  was  once  ordered  to  execute  a  figure  to  please  the 
King,  who  gave  him  the  design  ;  but  it  was  one  which  his 
pure  taste  did  not  sanction,  and  he  refused  to  so  degrade 
his  art ;  he  said,  "  C  etait  travailler  pour  le  diable  !  " 

Canova,  who  visited  Daunecker  in  his  latest  years, 
was  so  impressed  -with  the  childlike  simplicity  and  un- 
worldliness  of  his  nature  that  he  gave  him  the  title  of 
//  Bcato. 

Dannecker  died  in  Stuttgart  in  1841. 


IVAN    PETROVITCH    MARTOS. 

IVAN  rETEOVITCH  MARTOS  was  an  eminent 
Russian  sculptor,  born  at  Itchnia,  in  Little  Russia, 
about  17G0.  He  was  patronized  by  the  Empress  Feodo- 
rowna,  and  was  sent  to  Rome  to  study  at  the  expense  of 
the  government.  He  executed  numerous  statues  of  excel- 
lence, and  was  especially  successful  in  bas-relief  His 
works  are  marked  by  nobleness  of  conception  and  life- 
like expression;  they  are  executed  with  freedom,  yet 
without  negligence.  In  the  treatment  of  drapery  he  is 
regarded  as  superior  even  to  Canova. 

Amona  the  best  works  of  iMartos  are  a  colossal  bronze 
group  of  the  patriots  Minin  and  Pozharski  at  Moscow  ; 
the  monument  of  the  Prince  Potemski,  the  celebrated 
military  commander  at  Cherson  ;  the  mausoleum  of  the 
Emperor  Alexander  at  Taganrog  ;  and  the  monument  of 
Lomonosov,  the  celebrated  Russian  poet,  at  Archangel. 
Martos  was  Director  of  the  Academy  of  Fine  Arts  at  St. 
Petersbur''.     H<;  died  in  1835. 


228  SCULPTOES  OF  THE  RENAISSANCE.  [1762. 


JOHN  CHARLES  FELIX  ROSSI. 

JOHN"  CHAELES  FELIX  EOSSI,  the  son  of  an 
Italian  of  Sienna,  was  born  in  Nottingham,  Eng- 
land, in  1762.  He  was  first  instructed  by  an  Italian 
artist,  and  afterwards  became  a  student  at  the  Eoyal 
Academy  in  London.  In  1781  he  gained  the  silver 
medal  of  the  Academy,  and  after  three  years  more  of 
labor  he  won  the  gold  medal  which  entitled  him  to  three 
years'  study  in  Eome  with  the  requisite  pension.  He 
availed  himself  of  the  opportunity,  and  at  Eome  devoted 
himself  to  his  profession  with  great  assiduity.  After  his 
return  to  England  he  distinguished  himself  by  the  execu- 
tion of  various  mythological  and  allegorical  works.  His 
most  famous  productions,  however,  are  the  monuments 
executed  by  him  for  St.  Paul's  Cathedral.  The  best  of 
these  are  the  monument  of  Lord  Cornwallis,  consisting  of 
the  figure  of  the  hero  and  three  allegorical  figures  repre- 
senting Indian  rivers ;  that  of  Lord  Heathfield,  a  single 
figure  with  a  bas-relief  upon  the  pedestal,  representing  a 
warrior  crowned  by  Victory ;  that  of  Captain  Faulkner, 
in  which  Neptune  is  represented  rescuing  a  drowned 
sailor,  while  an  attendant  figure  bestows  a  crown  of 
laurel ;  and  that  of  Lord  Eodney,  an  elaborate  pyramidal 
group  representing  the  Admiral,  with  figures  of  Fame  and 
History  below. 

Eossi's  style  is  remarkable  for  vigor  and  grandeur 
of  effect.  He  was  a  member  of  the  Eoyal  Academy, 
and  was  appointed  sculptor  to  William  IV.  He  died  in 
1839. 


1763.]  ANTOINE  DENIS  CHAUDET.  229 


ANTOINE    DENIS    CHAUDET. 

ANTOINE  DKNIS  CHAUDET,  one  of  the  best 
Fii'iich  sculptors  of  modern  times,  was  born  at 
Paris  in  1703.  As  a  child  he  displayed  a  remarkable 
talent  for  modelling,  and  at  the  age  of  fourteen  was  ad- 
mitted as  a  student  at  the  Academy  of  Fine  Arts.  When 
he  was  twenty-one  he  gained  the  Grand  Prize  for  a  bas- 
relief  representing  Joseph  sold  by  his  Brethren.  This 
enabled  him  to  go  to  Rome,  Mhere  he  remained  for  five 
years.  His  devotion  to  the  antique  is  shown  in  the  sim- 
jile  and  nuble  style  which  he  formed.  To  a  thorough 
technical  training  he  united  a  purity  of  taste  which 
seems  to  have  guarded  him  from  the  extravagant  and 
picturesque  tendency  of  his  time.  After  his  return  to 
Paris  he  produced  works  which  raised  him  to  the  highest 
rank  among  modern  sculptors.  His  knowledge  of  art 
was  extensive,  and  he  was  appointed  Professor  of  Sculp- 
ture in  the  Academy. 

In  the  Louvre  is  Chaudet's  group  of  the  Shepherd  of 
Polybus  carrying  away  the  young  Q^dipus,  which  is  re- 
garded as  his  finest  work.  For  the  peristyle  of  the  Pan- 
theon at  Paris,  he  executed  a  relief,  which  is  called  the 
Emulation  of  Glory,  representing  a  dying  warrior  sup- 
ported by  the  genius  of  Fame. 

His  magnificent  statue  of  Napoleon  is  now  in  tlie 
gallery  of  mediaeval  and  modern  sculjjtures  in  the  Old 
Mu.seum  at  Pcrlin.  Napoleon  is  represented  as  a  Pomau 
Emperor,  and  the  statue  is  in  the  ii()l)le  style  of  tlie  an- 
tique; it  is  considered  the  best  likeness  of  the  Emperor 
in  existence. 

Chaudet  executed  the  .silver  statue  of  IVacc  which  was 


230  SCULPTORS  OF  THE  RENAISSANCE.  [ires. 

presented  to  Napoleon  I.  by  the  city  of  Paris.  It  was 
formerly  kept  in  the  palace  of  the  Tuileries,  and  was  res- 
cued from  the  fire  in  1871 ;  it  is  now  in  the  Louvre,  in 
the  room  which  was  once  the  chapel  of  the  Ordre  du  St. 
Esprit. 

As  a  painter  and  designer  Chaudet  also  gained  distinc- 
tion.    He  died  in  1810. 


JOHANN    GOTTFRIED    SCHADOW. 

JOHANN  GOTTFEIED  SCHADOW,  regarded  as  the 
founder  of  the  modern  school  of  sculpture  in  Ger- 
many, was  born  at  Berlin  in  1764.  His  German  instruc- 
tor in  art  is  said  to  have  been  Johann  Tassaert.  Schadow 
married  early,  and  through  the  liberality  of  his  father-in- 
law  was  enabled  to  go  to  Eome,  where  he  studied  for 
some  years.  After  his  return  to  Berlin  he  was  appointed 
Court  Sculptor. 

The  works  of  this  artist  are  characterized  by  an  unpre- 
tending simplicity  and  truth.  Among  his  best  works  are 
the  statue  of  Frederick  the  Great  in  the  Theatre-Platz  at 
Stettin,  and  the  statue  of  Marshal  Bliicher  in  the  Blii- 
cher-Platz  at  Eostock.  This  statue  is  near  the  place 
where  Bliicher  was  born,  in  Bliicher-Strasse ;  it  is  of 
bronze,  and  upon  the  pedestal  are  reliefs  in  allusion  to 
the  Marshal's  defeat  at  Ligny,  when  in  command  of  the 
Prussian  army,  and  to  his  victory  at  Waterloo.  At  Wit- 
tenberg in  the  Markt-Platz  is  Schadow's  statue  of  Luther. 
Upon  the  pedestal  is  the  inscription,  "  If  it  be  God's 
work  it  will  endure,  if  the  work  of  man  it  will  perish." 

The  magnificent  Quadriga  of  Victory,  which  crowns  the 


1761]  JOHANN   GOTTFRIED  SCHADOW.  231 

Bmndenburg  Gate  at  the  eutrauce  to  Uuter  den  Linden 
in  Berlin,  is  the  work  of  this  sculptor.  It  was  carried 
away  by  the  French  in  1806,  but  returned  to  its  place  in 
1814 

Schadow  was  Director  of  the  Berlin  Academy,  and  was 
the  author  of  several  treatises  on  art.     He  died  in  1850. 


DON    JOSE    ALVAREZ. 

DOX  JOS:fi  ALVAREZ,  one  of  the  most  eminent  of 
modern  Spanish  sculptors,  was  born  at  Priego  in 
the  province  of  Cordova,  in  1768.  His  father  was  a 
stone-mason,  and  he  himself  was  taught  the  same  trade 
in  his  youth ;  but  having  a  marked  ability  for  designing, 
his  leisure  moments  were  diligently  employed  in  the 
study  and  practice  of  drawing.  In  his  twentieth  year  he 
became  a  student  in  the  Academy  of  Granada,  where  he 
soon  distinguished  himself  by  his  skill  in  modelling.  He 
attracted  the  notice  of  the  Bishop  of  Cordova,  who  became 
his  patron  and  caused  liim  to  be  made  a  member  of  the 
Academy  of  Cordova.  In  1794,  Alvarez  became  a  stu- 
dent in  the  Academy  of  S.  Fernando  in  Madrid,  where 
he  distinguished  him.self  V)y  the  excellenee  of  his  work, 
gaining  a  prize  of  the  first  cUiss  for  a  bas-relief  In 
1790  he  received  from  King  Charles  IV.  a  pension  of 
twelve  thousand  reals  (fifteen  thousand  doHars),  which 
enabled  him  to  prosecute  his  studies  in  Paris  and  in 
Kome.  In  Paris  he  devoted  himself  to  the  study  of  auat^ 
omy,  and  also  produced  various  works  in  sculpture. 

In    1802    he  executed  a  statue  of  Ganymede,  which 
very  greatly  increased  his  reputation,  and  was  pronoujiced 


232  SCULPTORS  OP  THE  RENAISSANCE.  [i768. 

by  David  the  painter  equal  to  the  antique.     It  is  in  the 
Academy  of  S.  Fernando  in  Madrid. 

In  Eome  Alvarez  executed  many  fine  works,  and  was 
made  a  member  of  the  Academy  of  St.  Luke.  Perhaps 
his  most  admired  works  are  those  of  a  mythological  char- 
acter. About  1818  he  was  appointed  court  sculptor  to 
Ferdinand  VII.     He  died  at  Madrid  in  1827. 

Don  Manuel  Alvaeez  (1727-1797)  was  a  reputable 
Spanish  sculptor,  born  at  Salamanca.  He  became  sculp- 
tor to  the  king  of  Spain,  and  was  at  one  period  Director 
of  the  Academy  of  S.  Fernando  in  Madrid.  His  works 
are  numerous  in  Spanish  collections. 


FRAN9OIS    JOSEPH    BOSIO. 

BAEON  FRANgOIS  JOSEPH  BOSIO  was  a  dis- 
tinguished sculptor,  born  at  Monaco,  in  1769. 
He  studied  in  France  under  Augustin  Pajou,  and  became 
one  of  the  most  successful  imitators  of  the  antique  among 
French  sculptors. 

The  work  by  which  he  is  best  known,  perhaps,  is  the 
relief  upon  the  Colonne  Vendome  in  Paris,  in  the  execu- 
tion of  which  he  was  employed  by  Napoleon  I.  This 
monument  was  raised  by  the  Emperor  between  1806  and 
1810,  to  commemorate  his  victories  over  the  Austrians 
and  Russians  in  1805,  and  the  cannon  taken  in  this  cam- 
paign were  used  in  its  construction.  It  was  modelled  after 
Trajan's  Column  in  Eome.  It  was  one  hundred  and  forty- 
four  feet  in  height,  and  thirteen  feet  in  diameter,  built 
of  masonry  and  covered  with  plates  of  bronze,  forming  a 


1769.]  FKAXCOIS  JOSEPH  BOSIO.  233 

spiral  nearly  three  hundred  feet  in  length.  Upon  this 
were  represented  in  bas-relief  the  most  memorable  scenes 
in  the  campaign  of  1805.  The  figures  were  about  three 
feet  in  height,  and  the  costumes  and  equipments  of  the 
soldiers  of  the  period  were  accurately  given.  Upon  tlie 
pedestal  were  represented  the  uniforms  and  arms  of  the 
Austriaus  and  Paissians.  At  the  corners  were  four  eagles 
bearing  garlands,  and  upon  the  summit  was  the  statue  of 
Napoleon.  This  statue  was  taken  down  by  the  Eoyalists 
in  1814  (the  bronze  was  emi)loyed  in  the  execution  of 
the  equestrian  statue  of  Henry  IV.  which  adorns  the  Pont 
Xeuf)  and  the  column  was  surmounted  with  the  Jlcur-dc- 
lis  and  a  white  flag.  In  1831  a  new  statue  of  Napoleon, 
cast  from  the  metal  of  guns  captured  at  Algiers,  was 
raised  by  Louis  Philippe  to  the  summit,  in  place  of 
the  armorial  ^c«r-(/6'-Zts.  In  1863  Napoleon  III.  caused 
this  statue  to  be  replaced  by  a  fac-simile  of  the  original 
figure.  In  1871,  the  whole  column  was  thrown  down, 
but  a  large  portion  of  the  fragments  were  preserved  and 
the  work  of  reconstruction  soon  commenced ;  the  column 
shows  now  little  trace  of  its  dire  vicissitudes. 

A  number  of  other  sculptors  were  employed  in  the 
execution  of  the  original  reliefs  of  this  monument.  I'ro- 
fessor  Liibke  says  that  in  this  work  Bosio's  "classic  ten- 
dency suffered  a  kind  of  martyrdom." 

Bosio  designed  the  bronze  Quadriga  which  crowns 
the  Arc  de  Triomphe  of  the  Place  du  Carrousel  in  Paris. 
This  arch  was  originally  surmounted  by  a  gilded  bronze 
quadriga  of  Itoman  workmanship,  which  probably  adorned 
the  triumphal  arch  of  Nero,  and,  later,  that  of  Trajan, 
Constantino  caused  this  to  be  carried  to  Constantino])lc, 
whence  it  was  taken  to  Venice,  in  1204,  and  jilaced  over 
the  main  portal  of  8.  ]\Iarco.     In  17*J8  Napoleon  conveyed 


234  SCULPTORS  OF  THE  RENAISSANCE.  [1769. 

the  group  to  Paris,  and  it  was  placed,  a  few  years  later, 
upon  the  Arc  de  Trioniphe  du  Carrousel ;  but  in  1814  it 
was  restored  to  its  place  above  the  entrance  of  S.  Marco, 
in  Venice,  and  the  bronze  group  by  Bosio  was  executed 
for  Napoleon's  triumphal  arch. 

The  Chapelle  Expiatoire  in  Paris,  erected  by  Louis 
XVITI.  to  the  memory  of  Louis  XVI.  and  Marie  Antoi- 
nette, contains  two  marble  groups,  one  of  which  is  by 
Bosio.  It  represents  Louis  XVI.  receiving  consolation 
from  an  angel,  who  addresses  to  him  the  words,  Fils  de 
St.  Louis,  montez  au  del.  The  other  group,  which  repre- 
sents Marie  Antoinette  supported  by  Eeligion,  was  exe- 
cuted by  Jean  Pierre  Cortot,  a  French  sculptor  who  was 
contemporary  with  Bosio,  and  the  author  of  various  his- 
torical works. 

Bosio  produced  a  number  of  mythological  w^orks  in 
marble,  some  of  which  are  to  be  seen  in  the  Louvre.  In 
his  old  age  he  essayed  religious  subjects,  but  in  these  was 
not  successful.  He  was  a  membef  of  the  Institute  of 
Prance,  and  of  the  Academy  of  Art  at  Berlin.  He  died 
in  1845. 


BERTEL    THORVALDSEN. 

BEPtTEL  THORVALDSEN  was  born  in  Copenhagen 
in  1770.  His  name  is  given  by  some  biographers 
as  Albert  Beetel,  which  is  not  correct.  Bertel  is,  in 
Danish,  the  familiar  equivalent  of  Bartholomew ;  the 
Italians  changed  it  to  Alberto,  and  by  this  name  he  was 
known  in  Rome.  Thoevaldsen  is  correct  according  to 
the  artist's  native  orthography,  but  in  this  country  and  in 
Europe  it  is  often  spelled  Thoe^valdsen. 


1770.]  BERTEL  THORA'ALDSEN.  235 

His  parents  were  in  humble  circumstances ;  his  father 
was  a  wood-carver,  and  employed  in  a  shipyard  carving 
figure-heads  for  merchant  vessels.  Bertel  began  to  assist 
his  father  when  very  young,  and  this  probably  gave  him 
his  first  inclination  towards  sculpture  as  a  profession. 
When  he  was  eleven  yeai-s  of  age  he  was  sent  to  the 
Academy  of  Fine  Arts,  where  he  received  instruction  for 
several  years,  making  commendable  progress.  His  gen- 
eral education  was  almost  entirely  neglected,  and  through- 
out his  life  the  sculptor's  chisel  seems  to  have  been  the 
only  effectual  medium  for  the  expression  of  his  ideas. 
He  was  considered  a  laz^'outh  except  in  what  pertained 
to  art. 

AVhen  he  was  seventeen  years  of  age  he  won  the  silver 
medal  of  the  Academy  for  a  relief  of  Love  in  Eepose,  and 
three  years  later  the  small  gold  medal  for  a  bas-relief  of 
Heliodorus  driven  from  the  Temple.  After  two  years 
more  of  study,  he  gained  the  Grand  Prize,  which  entitled 
him  to  go  to  Eome  to  study ;  but  as  the  privilege  was  at 
that  time  enjoyed  by  another  student,  he  was  obliged 
to  wait  for  some  time,  and  the  Academy  assisted  him  in 
continuing  his  studies  at  Copenhagen. 

After  waiting  two  years  for  the  fulfilment  of  his 
desires,  and  undergoing  a  long  and  tedious  voyage,  he 
reached  Ifome,  where  the  sight  of  the  treasures  of  an- 
tique art  filled  his  .soul  with  delight.  He  was  wont  to 
say,  referring  to  the  date  of  his  arrival  in  Rome  :  "  I 
was  born  on  the  8th  of  March,  1797,  —  before  then  I  did 
not  exist." 

He  made  a  thorough  study  (jf  anti([ue  art,  copying 
assiduously,  and  for  a  time  seems  not  to  have  produced 
many  original  works.  During  the  early  part  of  his  stay 
in  Rome  he  experienced  many  discouragements  and  vicis- 


236  SCULPTORS  OF  THE  RENAISSANCE.  [im 

situdes,  and  when  the  term  for  which  he  was  entitled  to 
assistance  had  nearly  expired  he  prepared  to  return  to 
Denmark.  He  resolved,  however,  to  execute  an  impor- 
tant work  before  leaving,  designed  as  a  gift  to  his  native 
country.  He  modelled  a  Jason,  represented  bearing  the 
golden  fleece,  after  his  conquest  of  the  dragon ;  but  it  did 
not  gain  much  admiration,  and  the  sculptor  destroyed  it. 
He  modelled  another  on  a  colossal  scale,  which  excited 
great  admiration,  but  brought  no  pecuniary  advantages ; 
and  as  there  seemed  now  no  way  but  to  return  at  once  to 
Copenhagen,  all  his  arrangements  were  made  for  depart- 
ure. Almost  at  the  last  moment,  the  English  banker, 
Thomas  Hope,  visited  Thorvaldsen's  studio,  and,  struck 
with  the  majesty  of  the  model  of  Jason,  commissioned 
the  artist  to  produce  it  in  marble ;  from  that  time  fame 
and  fortune  both  attended  the  career  of  the  sculptor. 
The  statue  of  Jason  was,  however,  not  finished  for  many 
years.  It  is  a  fine  colossal  figure,  holding  in  his  right 
hand  the  lance  with  which  he  vanquished  the  dragon  who 
watched  over  the  golden  fleece,  and  this  trophy  he  bears 
upon  his  left  arm.  A  copy  in  marble,  as  well  as  the 
plaster  model  of  it,  is  in  the  Thorvaldsen  Museum  in 
Copenhagen. 

Among  his  earlier  works  are  many  mythological  sub- 
jects, youthful  figures  of  gods  and  goddesses,  which  are 
embodiments  of  grace  and  beauty,  and  sometimes  possess 
almost  the  calm  dignity  and  repose  of  antique  statues. 
An  Adonis  is  one  of  his  masterpieces  in  this  branch  of  art, 
and  is  besides  remarkable  for  being  one  of  the  few  of 
Thorvaldsen's  productions  which  are  entirely  the  work  of 
his  own  hands.  It  represents  the  young  shepherd  just 
returned  from  the  chase,  and  leaning  against  the  trunk  of 
a  tree,   over   which  his  cloak  is  thrown.     Canova  pro- 


1770]  BERTEL  THORVALDSEN.  237 

nounced  the  statue  "  noble  and  simple,  in  the  true  an- 
tique style,  and  full  of  feeling."  It  is  in  the  Glyptothek 
at  Munich.  His  group  of  Cupid  and  Psyche,  is  a  beauti- 
ful work  ;  the  two  figures  are  standing  side  by  side,  look- 
ing into  the  cup  of  immortality  which  Psyche  holds  in 
her  hand.  There  are  several  representations  of  this  ;  one 
is  in  the  Thorvaldsen  Museum.  Among  the  most  beau- 
tiful and  widely  known  of  his  works  are  the  bas-reliefs 
of  Night  and  Morning.  The  former  was  conceived  dur- 
ing a  sleepless  niglit,  and  modelled  in  the  freshness  of 
inspiration  ;  the  other  was  produced  simply  as  a  com- 
panion piece.  The  goddess  of  Night  is  represented  with 
her  wings  spread,  softly  floating  in  space.  The  idea  of 
repose,  yet  of  constant  motion,  is  marvellously  carried 
out ;  the  drooping  head  is  covered  with  a  close  hood, 
which  leaves  the  whole  profile  visible,  while  it  adds  to 
the  dreamy  and  mysterious  air  of  the  head  ;  above  the 
forehead  are  poppies  bound  in  the  hair.  In  her  arms  she 
bears  two  children  in  the  attitude  of  deep  slumber.  The 
owl,  as  tlie  bird  of  night,  is  an  accompaniment,  and  it  is 
said  was  added  at  the  suggestion  of  the  mason  who  cast 
tlie  work.  The  Morning  is  a  beautiful  composition,  full 
of  brightness  and  animation,  but  lacking  the  ideal  charm 
of  the  other.  There  are  many  repetitions  of  these  bas- 
reliefs  ;  one  is  in  the  collection  at  Chatsworth,  another 
in  the  Thorvaldsen  Museum,  togetlier  with  tlie  plaster 
model.  A  group  representing  Ganymede  kneeling,  and 
holding  the  cup  for  the  eagle  to  drink,  is  of  remarkable 
excellence. 

Thorvaldsen  was  commissioned  with  the  restoration  of 
the  Egina  marbles,  whicli  were  discovered  in  1811,  and 
purchased  ])y  the  Prince  of  Bavaria.  He  performed  the 
task  to  the  ^reat  admiration  of  connoisseurs  in  art ;  the 


238  SCULPTORS  OF  THE  RENAISSANCE.  [mo. 

tints  were  matched  so  exactly  that  at  first  he  was  fre- 
quently asked  by  visitors  which  were  the  restored  parts. 
He  would  reply,  laughing :  "  I  cannot  say ;  I  neglected 
to  mark  them,  and  I  no  longer  remember.  Find  them 
out  for  yourself  if  you  can."  The  marbles  are  in  the 
Glyptothek  at  Munich,  and  the  restored  parts  are  now 
so  changed  in  color  that  it  is  not  difficult  to  distinguish 
them. 

In  1811,  when  arrangements  were  being  made  for 
Napoleon's  entry  into  Eome,  Thorvaldsen  was  employed 
to  execute  a  frieze  for  one  of  the  apartments  of  the  Quiri- 
nal  Palace,  and  the  subject  chosen  was  the  Triumphal 
Entry  of  Alexander  into  Babylon.  This  celebrated  bas- 
relief  was  executed  in  plaster  in  the  short  space  of  three 
months.  A  marble  copy  was  ordered  by  Napoleon,  who, 
however,  was  not  destined  to  be  glorified  by  it,  and  it 
was  finally  purchased  by  the  Count  of  Sommariva  for  his 
villa  (now  called  Villa  Carlotta)  at  Lake  Como.  It  was 
repeated  for  the  palace  of  Christiansborg  in  Copenhagen. 
In  this  composition  Thorvaldsen  followed  the  account 
given  by  the  Eoman  historian  Quintus  Curtius.  The 
work  as  first  produced,  owing  probably  to  the  rapidity 
with  which  the  artist  was  obliged  to  work,  was  some- 
what imperfect  in  detail ;  but  in  the  later  copies  many 
changes  were  introduced,  which  greatly  improved  the 
effect.  One  of  his  biographers  says  of  this  work,  "  It  is 
perhaps  the  most  admirable  masterpiece  produced  by  art 
since  the  ever  glorious  age  of  Grecian  sculpture." 

Another  celebrated  achievement  is  the  Lion  of  Lucerne, 
for  which  he  made  the  model  about  1819.  It  is  the 
noble  figure  of  a  dying  lion,  carved  in  solid  granite,  de- 
signed to  commemorate  the  fidelity  of  the  Swiss  Guards 
who  fell  in  defence  of  the  Tuileries  in  1792.  A  model 
of  it  is  in  the  Thorvaldsen  Museum. 


im]  BERTEL  THORVALDSEN.  239 

Thorvaldsen  executed  many  other  commemorative 
monuments,  among  wliich  should  be  mentioned  the  eques- 
trian statue  of  the  Elector  ^laximilian  at  Municli,  the 
statue  of  Gutenberg  at  Mainz,  and  the  Schiller  monument 
at  Stuttgart.  He  also  designed  a  large  number  of  sepul- 
chral monuments,  which  are  characterized  in  great  meas- 
ure by  tiie  same  manner  of  treatment  as  his  mythological 
subject.  It  is  said  of  him,  that  he  had  not  the  enthusi- 
asm of  faith,  and  that  his  works  are  more  fitted  to  satisfy 
the  mind  of  the  thinker  than  the  heart  of  the  Christian. 

His  portrait  statues  and  busts  are  very  numerous. 
Among  the  latter  is  one  of  Byron,  and  the  circumstances 
of  its  production  were  thus  pleasantly  related  by  the 
sculptor  to  his  friend  Andersen  :  "  It  was  at  Eome  that 
I  had  to  make  the  statue  of  Lord  Byron.  When,  accord- 
ingly, that  noble  personage  came  to  my  atelier,  he  sat 
down  in  front  of  me  and  forthwith  assumed  a  strange 
aspect,  —  whully  different  from  his  ordinary  physiognomy. 
'  My  lord,'  I  said  to  him, '  have  the  goodness  to  be  tran- 
quil. I  beg  of  you  not  to  look  with  such  an  air  of  mis- 
ery.' —  '  That  is  the  characteristic  expression  of  my  face,' 
replied  Byron.  '  Indeed ! '  was  my  rejoinder,  and,  without 
troubling  myself  further  with  this  mockery  of  mood,  I 
proceeded  to  work  out  my  own  impressions.  When  the 
bust  was  finished,  every  one  considered  the  likeness  to  be 
.striking ;  but  the  lord  was  not  content.  '  This,'  said  he, 
'  is  not  my  face  ;  I  have  a  much  greater  aspect  of  wretch- 
edness than  that,'  —  for  he  would  obstinately  have  that 
air  of  misery." 

With  Sir  Walter  Scott,  whose  bust  he  also  modelled, 
he  seems  to  have  got  on  l)etter.  At  the  request  of  Sir 
Walter  they  were  introduced  at  Vonne.  They  appeared 
to  Ixi  nmtually  pleased  at  the  meeting,  but  as  neitiier 


240  SCULPTORS  OF  THE  RENAISSANCE.  [mo. 

could  speak  the  language  of  the  other,  their  conversation 
was  necessarily  fragmentary  and  unsatisfactory.  It  was 
a  confused  interchange  of  exclamations  of  delight  in 
various  languages,  somewhat  after  this  manner :  "  Cono- 
scenza,"  —  "  Plaisir,"  —  "  Happy,"  —  "  Charme,"  —  "  Pia- 
cere,"  —  "  Delighted,"  —  "  Heureux."  But  they  shook 
hands  warmly,  and  clapped  each  other  on  the  shoulder, 
and  the  utmost  good-fellowship  seemed  to  be  speedily 
established  between  them.  If  the  sculptor  was  no  more 
successful  with  the  bust  of  this  more  cheerful  subject,  its 
execution  doubtless  afforded  him  greater  pleasure. 

In  the  later  years  of  his  life  Thorvaldsen  applied  him- 
self to  the  production  of  religious  subjects.  In  his  native 
city,  among  other  important  undertakings,  he  was  com- 
missioned with  the  embellishment  of  the  church  of  Our 
Lady  (the  Frue  Kirke)  with  sculptures,  and  these  com- 
prise the  greater  part  of  his  religious  works.  The  exte- 
rior decorations  consist  of  a  large  frieze  for  the  portal  of 
the  church,  representing  Christ's  Entry  into  Jerusalem, 
and  for  the  pediment  the  Preaching  of  John  the  Baptist. 
For  the  interior  are  statues  of  Christ  and  the  Apostles, 
including  St.  Paul ;  behind  the  altar  a  frieze,  represent- 
ing Christ  on  the  way  to  Calvary  ;  for  the  side  walls  the 
Baptism  of  Christ,  and  the  Last  Supper.  His  apostles 
are  invested  with  characteristic  individuality,  and,  if  they 
are  sometimes  wanting  in  spirituality,  they  have  intellect. 
The  St.  Paul  is  entirely  the  work  of  the  sculptor's  own 
hand.  The  Christ  is  a  noble  figure,  with  hands  outspread 
as  if  to  express  the  invitation,  "  Come  unto  me."  In  rep- 
resenting the  Last  Supper  he  departed  entirely  from  the 
conventional  composition ;  the  Saviour  stands  before  the 
table  with  his  eyes  raised  in  blessing  the  cup,  while 
the  Apostles  kneel  in  groups  about  him.     The  Angel  of 


im]  BERTEL  THORVALDSEN.  241 

Baptism  in  the  Frue  Kirke  is  a  beautiful  conception,  —  a 
draped  figure  with  wiugs,  kueehng  upon  one  knee,  and 
holding  a  shell-shaped  font.  The  face,  which  is  slightly- 
raised,  has  an  expression  of  sweet  serenity,  and  the  head 
is  crowned  with  flowers. 

Among  the  artist's  symbolical  works  are,  perhaps,  his 
most  attractive  creations.  Thorvaldsen  was  educated  in 
the  Lutheran  faith,  but  his  want  of  religious  feeling  was 
apparent.  A  friend  remarked  to  him  that  his  lack  of  re- 
ligious faith  must  render  the  expression  of  Christian  ideas 
difhcult,  to  which  he  replied :  "  If  I  were  altogether 
an  unbeliever,  why  should  that  give  me  any  trouble  ? 
Have  I  not  represented  pagan  divinities  ?  Still,  I  don't 
believe  in  them."  But  marvellous  as  was  the  skill  of  this 
master's  hand,  and  strong  and  keen  as  was  his  intellect, 
there  must  exist  the  feeling  that  something  was  wanting ; 
his  nature  was  grand  and  noble  in  the  main,  but  it  was 
not  developed  on  all  sides. 

Thorvaldsen  took  great  delight  in  the  stories  related  by 
Ills  friend,  Hans  Andersen.  He  was  also  passionately 
fund  of  music.  Mendelssohn  wrote  in  one  of  his  letters 
from  Eome  :  "  My  piano-playing  is  a  source  of  great  grat- 
ification to  me  here.  You  know  how  Thorvaldsen  loves 
music,  and  I  sometimes  play  to  him  in  the  morning  while 
he  is  at  work.  He  has  an  excellent  instrument  in  his 
studio,  and  when  I  look  at  the  old  gentleman  and  see  him 
kneading  his  brown  clay,  and  delicately  filing  off  an  arm 
or  a  fold  of  drapery,  —  in  .short,  when  he  is  creating  what 
we  all  must  admire  when  completed  as  an  enduring  work, 
—  then  I  do  indeed  rejoice  that  I  have  the  means  of  be- 
stowing any  enjoyment  on  him He  looks  like  a 

lion,  and  the  very  sight  of  his  face  is  invigorating.  Ydu 
feel  at  once  that  he  must  be  a  noble  artist;  his  eyes  look 

10 


242  SCULPTORS  OP  THE  RENAISSANCE.  [mo. 

so  clear,  as  if  with  him  every  object  must  assume  a  defi- 
nite form  and  image.  Moreover  he  is  very  gentle,  and 
kind,  and  mild,  because  his  nature  is  so  superior ;  and  yet 
he  seems  to  be  able  to  enjoy  every  trifle." 

Thorvaldsen's  favorite  branch  of  sculpture  was  bas- 
relief,  and  in  this  he  greatly  excelled.  His  works  in  every 
department  are  very  numerous  ;  the  Thorvaldsen  Museum 
in  Copenhagen,  which  was  founded  by  the  sculptor,  and 
to  which  he  made  large  bequests,  contains  copies  and 
models  of  all  his  works.  His  monument  was  constructed 
in  the  centre  of  the  building.  He  was  much  praised  dur- 
ing his  career,  especially  b}^  his  own  countrymen,  and  his 
last  days  were  passed  in  his  native  city,  though  he  con- 
templated another  visit  to  Eome.  He  continued  his 
labors  until  the  last,  being  occupied  the  very  day  of  his 
death  upon  the  model  of  a  bust  of  Luther.  His  death 
occurred  one  evening  in  March,  1844,  soon  after  entering 
a  theatre.  A  year  before  the  event  his  friend  Andersen 
paid  him  a  visit  for  the  purpose  of  communicating  the 
news  of  the  death  of  a  celebrated  countryman,  who  had 
become  indisposed  while  at  the  theatre,  and  started  to 
return  home ;  on  reaching  the  door  of  his  house  he  was 
found  dead  in  the  carriage.  Thorvaldsen  exclaimed,  "  Is 
not  that  an  admirable  and  enviable  death  ?  "  Just  a  year 
later,  death  came  to  him  in  almost  precisely  the  same 
manner. 

Thorvaldsen  never  married ;  in  his  early  years  he 
formed  an  unfortunate  connection  with  a  woman  in 
humble  life,  which  brought  him  much  unhappiness. 
She  finally  disappeared  from  his  history,  and  it  is  proba- 
ble that  he  separated  permanently  from  her,  though  pro- 
viding for  her  maintenance.  She  bore  him  one  child,  a 
daughter,  for  whom  he  amply  provided,  and  arranged  an 


im]  BERTEL  THORVALDSEN.  243 

honorable  marriage.  He  bad  various  love  passages  in 
the  course  of  his  life,  hut  upon  himself  tliey  left  but  lit- 
tle trace.  "Whatever  tricks  his  fancy  may  have  played,  it 
is  clear  that  his  heart  was  given  entirely  to  his  art. 

The  unlmished  bust  of  Luther  is  preserved  under  glass 
in  the  Museum  at  Copenhagen,  together  ^villl  the  hand- 
ful of  clay  which  he  laid  down  before  it  on  leaving  his 
work,  and  on  which  the  last  material  touch  of  the  great 
sculptor  is  visible. 


FRAN9OIS    FREDERIQUE    LE    MOT. 

FEAXgOIS  FEEDERIQUE  LE  MOT,  or  Lemot, 
was  born  at  Lyons  in  1773.  Having  a  natural  taste 
for  art,  he  was  sent  to  Paris  at  an  early  age  to  study  in 
the  Academy  of  Fine  Arts.  When  he  was  seventeen,  he 
gained  the  Grand  Prize  of  the  Academy,  and  with  the 
rcjyal  pension  went  to  Pome  to  study.  After  a  few  years 
he  returned  to  Paris,  where  he  gained  a  high  reputation, 
and  was  made  successively  member  of  the  Listitute  of 
France,  Professor  in  the  Academy  of  Fine  Arts,  member 
of  the  Legion  of  Honor,  Baron,  and  Chevelier  of  the 
Order  of  St.  Michael. 

Among  Le  Mot's  principal  works  are  bas-reliefs  upon 
the  grand  faf;ade  of  the  colonnade  of  the  Louvre,  and 
marble  reliefs  for  the  tribune  of  the  Chamber  of  Deputies, 
in  Paris.  For  his  native  city  he  executed  a  colossal 
equestrian  .statue  of  Louis  XIV.  Among  his  other  ad- 
mired works  are  Leouidas,  Brutus,  and  Cicero.  He  died 
in  1827. 


244  SCULPTORS  OF  THE  RENAISSANCE.  [1775. 


SIR    RICHARD    WESTMACOTT. 

SIE  RICHAED  WESTMACOTT,  a  distinguished 
English  sculptor,  was  born  in  London  in  1775. 
Manifesting  a  decided  talent  for  sculpture  he  was  sent  to 
Eome  for  study  when  quite  young.  He  became  a  pupil 
in  the  studio  of  Canova,  where  he  made  rapid  progress, 
and  for  an  early  work  in  bas-relief  he  gained  the  gold 
medal  of  the  Academy  of  St.  Luke.  He  was  elected  a 
member  of  the  Academy  of  Florence  when  but  twenty 
years  of  age.  After  four  years  of  study  he  returned  to 
London,  married  at  an  early  age,  and  established  him- 
self in  the  practice  of  his  art.  His  reputation  soon 
became  assured,  and,  ranking  among  the  first  of  English 
sculptors,  he  was  extensively  patronized  by  his  coun- 
trymen. He  was  elected  a  member  of  the  Eoyal  Acad- 
emy, and,  in  1827,  succeeded  Flaxman  as  Professor  of 
Sculpture.  Ten  years  later  he  received  the  honor  of 
knighthood. 

Westmacott  received  many  commissions  for  monu- 
mental sculpture.  Among  his  more  elaborate  monuments 
in  Westminster  Abbey  are  that  erected  to  Fox,  represent- 
ing the  figure  of  the  statesman  supported  in  the  arms  of 
Liberty,  with  the  figures  of  Peace,  and  a  liberated  slave 
at  his  feet ;  and  the  tomb  of  Spencer  Perceval,  represent- 
ing a  recumbent  figure  upon  the  sarcophagus,  with  the 
mourning  figure  of  Strength  at  the  head,  and  figures 
of  Truth  and  Moderation  at  the  foot.  The  monument 
to  Elizabeth  Warren,  wife  of  the  Bishop  of  Bangor,  — 
considered  one  of  his  best  works,  —  represents  a  poor 
woman  holding  her  child  in  her  arms,  in  reference  to  the 
benevolence  of  the  deceased  lady.     His  statues  of  Gen- 


1775.]  SIR  RICILUID  WESTMACOTT.  245 

erals  Pakenliani  and  Gibbs,  and  of  Lord  Colliiigwood,  in 
St.  Paul's  Cathedral,  are  noticeable. 

The  statue  of  the  Duke  of  Wellington,  called  the 
"  Statue  of  Achilles,"  near  Hyde  Park  Corner  in  London, 
is  by  Westmacott.  It  is  a  copy  of  one  of  the  Dioscuri 
on  Monte  Cavallo  at  Pome,  and  was  cast  from  the  metal 
of  French  cannon  captured  by  the  "  Iron  Duke." 

Westmacott  produced  numerous  works  in  ideal  sculp- 
ture ;  among  which  are  Cupid  and  Psyche,  a  Xymph  un- 
clasping her  zone,  and  Euphrosyne.  His  works  are 
remarkable  for  simplicity  and  purity  of  style,  and  his 
knowledge  of  art  was  extensive.  He  died  in  London  in 
1856.     . 


CHRISTIAN    FRIEDRICH    TIECK. 

CHPISTIAX  FRIEDRICH  TIECK,  a  German  sculp- 
tor of  note,  was  born  at  Berlin  in  1776.  He  was 
the  elder  brother  of  the  celebrated  novelist  and  poet, 
Ludwig  Tieck.  This  sculptor  appears  to  have  followed 
the  style  of  art  introduced  by  Schadow,  the  development 
of  which  produced  beautiful  results  in  the  School  of 
I'erlin  at  the  period  in  which  he  labored.  He  went  to 
Rome  in  1805,  and  became  well  grounded  in  the  princi- 
ples of  antique  art ;  he  afterwards  settled  at  IMunich  for 
a  time,  where  he  was  employed  in  the  execution  of  vari- 
ous portrait  busts.  His  most  important  works  are  those 
executed  at  Berlin,  ])articuhirly  the  plastic  oruament.s  of 
the  Theatre  built  by  the  celelirated  architect,  Schinktl. 
These  works  occupied  Tieck  for  many  years.  At  either 
side  of  the  steps  are  two  bronze  groups  representing  Genii 


246  SCULPTORS  OF  THE  RENAISSANCE.  [me. 

riding  upon  a  lion  and  a  panther.  Upon  the  tympanum 
of  the  portico  he  executed  a  copy  of  a  group  of  the  Chil- 
dren of  Mobe,  in  sandstone.  Upon  the  south  tympanum 
of  the  principal  part  of  the  building  are  Orpheus  and 
Eurydice,  by  his  hand  ;  and  upon  the  summit  of  the 
building  is  the  Chariot  of  Apollo,  a  bronze  group  by  Eauch 
and  Tieck.  The  figures  of  the  three  Horse,  whicli  adorn 
the  beautiful  mausoleum  of  Queen  Louise  at  Potsdam,  by 
Eauch,  are  the  work  of  Tieck.  These  two  artists  labored 
together,  and  were  always  firm  friends,  never  disturbed 
by  the  slightest  feeling  of  jealousy  or  envy. 

Tieck  was  much  employed  in  the  representation  of  mil- 
itary heroes,  and  trophies  of  the  late  war.  His  portrait 
statues  and  busts  are  admirable,  and  are  to  be  seen  in 
many  towns  in  Germany.     He  died  in  1851. 


CHRISTIAN    DANIEL    RAUCH. 

CHEISTIAN  DANIEL  EAUCH,  one  of  the  most 
gifted  and  celebrated  of  German  sculptors,  was 
born  at  Arolsen,  the  capital  of  the  principality  of  Wal- 
deck,  in  1777.  He  commenced  the  study  of  sculpture 
when  young,  but  on  the  death  of  his  father,  in  1797,  he 
was  obliged  to  relinquish  his  chosen  pursuit  and  seek 
remunerative  employment.  He  went  to  Berlin,  and  there 
became  valet  to  the  king,  Frederick  William  II.  After 
the  death  of  this  prince,  Eauch  was  enabled  through  the 
assistance  of  the  new  king,  Frederick  William  III.,  to 
follow  his  inclination  for  sculpture. 

After  executing  some  works  which  proved  his  artistic 
ability,  the  king  provided  him  with  the  means  of  further 


vm.]  CHRISTIAX   DAMEL   RAUCH.  247 

prosecuting  his  studies  in  Rome.  He  remained  there  for 
six  years,  devoting  himself  to  his  art  with  great  industry, 
making  constant  and  rapid  progress.  He  enjoyed  the 
friendship  of  Canova  and  Thorvaldsen,  and  of  William 
von  Humboldt,  who  was  at  that  time  Prussian  Minister  to 
Rome.  Among  his  early  works  are  compositions  in  bas- 
relief,  and  portrait  busts  of  various  celebrated  personages. 

In  1811,  Ranch  was  recalled  to  Berlin  by  the  king  of 
Prussia  to  execute  the  monumental  statue  of  the  late 
Queen  Louisa,  called  "  the  beautiful  queen,"  in  Charlot- 
tenburg.  This  work,  which  was  undoubtedly  a  labor  of 
love,  —  for  the  beautiful  and  amiable  queen  had  been  the 
sculptor's  benefactress,  —  has  probably  never  been  sur- 
passed in  purity  of  feeling  and  beauty  of  execution  by 
any  modern  production  in  sculpture.  In  it  are  com- 
bined the  truth  of  nature  with  the  softening  ideality  of 
antique  art ;  the  sculptured  face  and  form  of  the  Queen 
are  of  perfect  beauty,  while  the  resemblance  is  most 
marked.  The  figure  is  extended  in  tlie  attitude  of  tran- 
quil rest  upon  the  marlile  sarcophagus ;  the  face  and 
neck,  and  a  portion  of  the  arms,  are  bare ;  the  rest  of  the 
figure  is  shrouded  in  drapery.  At  the  foot  of  the  sar- 
cophagus—  which  is  more  like  a  pleasant  couch  than  a 
receptacle  for  the  dead  —  is  the  Prussian  eagle,  which 
was  modelled  from  a  living  eagle  captured  in  the  Apen- 
nines. King  Frederick  William  III.,  who  died  in  1840, 
was  buried  beside  the  Queen,  and  his  monument  also 
was  executt^d  by  Ranch,  —  a  recumbent  statue  wrapped 
in  a  cloak. 

A  Ijeautiful  statue  of  Queen  Louisa  by  Ranch  is  in  the 
Antique  Temple  in  the  Garden  of  Sanssouci,  at  Potsdam. 

The  monuments  of  Queen  Frederica  and  King  Ernest 
Augustus  at  Herrenhausen,  Hanover,  are  also  the  work 
of  Rauch. 


248  SCULPTORS  OF  THE  RENAISSANCE.  [im 

But   his   chief  work  is  the  monument  to  Frederick 
the  Great,  in  Unter  den  Linden,  at  Berlin.     This  work, 
finished  in  1851,  occupied  more  than  ten  years,  and  it  is, 
perhaps,  the  grandest  work  of  the  kind  in  Europe,  and 
is  certainly  one  of  the  most  original   and   magnificent 
works  of  modern  sculpture.     The  whole  is  bold  and  effect- 
ive, and  it  is  dignified  and  masterly  in  all  its  details. 
It  is  a  pyramidal  structure  crowned  with  a  colossal  eques- 
trian statue  of  the  King.     The  granite  pedestal,  which  is 
twenty- five  feet   in   height,  presents   on  its   four   sides 
bronze  groups  of  the  chief  personages  of  the  reign  of 
Frederick    the   Great,   including    military   commanders, 
statesmen,  and  men  of  letters ;  among  them  is  the  figure  of 
Graun,  the  King's  favorite  musical  composer.    The  figures 
are  life-size,  and  were  produced  from  the  most  authentic 
portraits  and  descriptions.      The  costumes  and  arms  of 
the  time  are  all  accurately  given.     At  the  corners  of  the 
upper  section  of  the  pedestal  are  figures  of  the  Virtues, 
and  upon  the  sides  bas-reliefs,  illustrating  emblematically 
different  periods  in  the  life  and  career  of  the  warrior-king. 
The  equestrian  statue  is  a  little  over  seventeen  feet  in 
height ;  the  figure  is  true  to  life,  and  the  details  are  accu- 
rately given  with  the  exception  of  an  ermine   mantle 
which  hangs  from  the  shoulders,  giving  a  more  stately 
bearing  as  well  as  a  more  picturesque  grace  to  the  figure 
and  attitude.     It  is  said  that  the  sculptor  was  censured 
for  this  addition,  as  the  monarch  never  wore  an  ermine 
mantle ;  but  he  pleaded  in  defence  that  the  figure  would 
have  looked  puny  and  insignificant  at  such  an  elevation 
without  the  drapery.      A  beautiful  bronze  reduction  of 
this  monument,  seven  and  one  half  feet  in  height,  is  in 
the  Corcoran  Gallery  of  Art  in  Washington. 

In  the  Orphanage  at  Halle  is  a  group  by  Eauch  repre- 


1777.J  CHRISTIAN   DANIEL  RALXH.  249 

senting  the  noble  founder  of  the  institution,  August  Her- 
mann Francke,  standing  with  a  child  at  either  side  of 
him.  The  figure  of  Francke  is  expressive  of  gi'eat  be- 
nevolence and  sincerity,  and  the  two  lifelike  cliildren  are 
looking  up  to  him  with  the  most  confiding  affection  ex- 
pressed in  their  faces  and  attitudes.  This  artist  has  not 
been  surpassed  in  the  expression  of  the  nobler  traits  of 
humanity ;  and  tliis  always  without  departing  from  the 
conscientious  reproduction  of  individual  nature.  Among 
his  most  admired  productions  in  symbolical  art  are  the 
marble  "Victories"  in  the  German  Temple  of  Fame, 
the  Walhalla,  at  Ratisbon,  in  which  "  the  character  of 
victory-giving  divinities  is  combined  with  the  individual 
expression  of  common  human  feeling." 

At  Breslau  is  a  statue  of  Bliicher  which  is  remarkable 
among  the  works  of  Eaucli  for  its  picturesque  animation, 
and  is  said  to  be  from  a  design  of  Schadow.  His  mon- 
ument of  the  same  general,  in  Berlin,  is  in  his  own  more 
calm  and  severe  style.  In  the  same  square  are  his  stat- 
ues of  Generals  Gneisnau  and  York.  In  Nuremberg  is  a 
statue  of  ^Vlbert  Diirer,  by  liauch ;  this  noble  memorial 
has  been  raised  in  the  Diirer-Platz,  not  far  from  the  house 
of  Albert  Diirer,  now  for  many  years  the  property  of  the 
city. 

In  the  Max-Joseph-platz  in  ]\Iunich  is  Piauch's  fine 
monument  of  King  Max-Joseph,  erected  on  the  twenty- 
fifth  anniversary  of  his  accession  to  the  throne.  It  is 
a  colossal  seated  figure  of  tlie  monarch  upon  a  pedestal 
whicli  is  adorned  with  reliefs  emblematical  of  Agricul- 
ture, Art,  ConstitutJiHi,  and  lieligious  Toleration. 

Arujther  very  admirable  work  is  a  group  in  the  cathe- 
dral at  Posen,  the  most  ancient  town  in  Poland,  ami  till 
129G  the  residence  of  the   Polish  kin<j.s.      In    1842   the 


250  SCULPTORS  OE  THE  RENAISSANCE.  [i777. 

Golden  Chapel  of  this  church  was  erected  and  sumptu- 
ously adorned  by  a  society  of  Polish  nobles,  and  here  are 
Eauch's  noble  statues,  in  gilded  bronze,  of  the  first  two 
Christian  kings  of  Poland.  His  statue  of  Kant  at  Konigs- 
berg,  and  that  of  Thaer  at  Berlin,  are  among  his  latest 
works. 

A  religious  work  in  the  atrium  of  the  Friedenskirche 
at  Potsdam,  belongs  to  his  later  years.  It  is  a  marble 
group  representing  Moses  in  prayer,  supported  by  Aaron 
and  Hur.  Dr.  Liibke  says  :  "  Designed,  as  a  whole,  with 
unsurpassable  beauty  of  lines,  it  is  somewhat  too  general 
in  form,  —  a  fault  nowhere  to  be  found  in  any  other  of 
Eauch's  ideal  works.  The  reason  for  this  probably  lies 
in  the  thoroughly  unplastic  nature  of  the  subject,  the 
significance  of  which  can  only  be  represented  in  a  relief, 
or,  still  better,  in  a  painting.  From  its  isolation  the 
work  has  acquired  an  air  of  chilling  design,  and  we  feel 
as  if  the  task  had  been  urged  upon  the  master  of  repre- 
senting the  idea  of  the  ruler's  power,  supported  by  the 
priest  and  soldier.  With  this  idea.  Sculpture  compounded 
as  far  as  she  was  able,  and,  at  any  rate,  has  produced  a 
masterpiece  of  plastic  lines." 

Eauch's  portrait  statues  and  busts,  of  which  he  exe- 
cuted a  great  number,  are  especially  admirable.  Without 
suppressing  individual  characteristics,  he  succeeded  in 
imparting  an  ideal  nobleness  which  elevates  his  subjects 
above  the  ordinary.  His  productions  are  numerous,  and 
his  latest  works  are  marked  by  the  same  freshness  and 
energy  that  distinguished  those  of  his  earlier  time.  His 
influence  upon  the  School  of  Berlin,  both  by  teaching  and 
example,  was  salutary,  and  his  position  in  the  history  of 
modern  sculpture  is  important.  He  was  a  man  of  very 
noble  character,  of  extensive  culture,  and  charming  man- 


im]  CHRISTIAN  DANIEL  RAUCH.  251 

ners.  AVitli  the  most  eminent  men  of  his  time  he  asso- 
ciated on  terms  of  intimacy ;  his  home  was  the  centre  of 
agi'eeable  social  intercourse,  and  his  studio  was  the  resort 
of  students  and  travellers  interested  in  sculpture.  He 
died  in  Dresden  in  1857. 

One  of  his  pupils  said  of  him  :  "Eaucli  was  thoroughly 
healthy  in  body  and  mind.  He  did  not  like  extravagance 
in  feeling,  fantasies,  or  moods,  nor  yet  passionate  ambi- 
tion. He  expected  that  others,  like  himself,  should  have 
a  real  love  for  art,  and  be  absorbed  in  it, — yet  neither  too 
much  nor  too  little,  all  in  equilibrium,  —  and  that  they 
should  do  their  very  best.  Let  every  one  soar  as  high  as 
his  wings  could  carry  him,  but  let  him  not  torment  liim- 
self  with  a  vain  ambition  to  mount  higher.  He  was  re- 
lentless to  himself,  and,  when  dissatisfied  with  his  work, 
he  would  destroy  the  result  of  months  of  labor  and  begin 
again.  He  strove  like  a  young  man,  and  took  as  much 
pains  as  if  he  had  achieved  no  success.  He  was  modest 
in  the  truest  sense  of  the  word.  I  have  heard  him  say 
things  that  might  have  shamed  thousands.  He  was  also 
entirely  devoid  of  envy,  and  was  delighted  M'itli  any  good 
work,  wlietlier  by  a  master  like  Tliorwaldsen,  or  some 
obscure  artist,  and  tried  to  make  every  one  share  his 
pleasure.  He  kept  youthful  to  the  end,  for  he  undertook 
every  fresh  work  with  as  much  zeal  as  if  it  had  been  the 
first ;  and  his  best  work,  the  monument  of  Frederick  the 
Great,  was  completed  in  his  seventieth  year." 


252  SCULPTORS  OF  THE  RENAISSANCE.  [ms. 


MATHET^    COTES    "WYATT. 

MATHEW  COTES  WYATT  was  born  in  London,  in 
1778.  He  was  the  son  of  James  Wyatt,  the  dis- 
tin<?uished  architect.  He  was  educated  at  Eton.  Havino- 
a  natural  taste  for  art,  lie  turned  his  attention  to  sculp- 
ture, and  soon  acquired  such  skill  as  to  win  the  patronage 
of  the  royal  family.  He  was  employed  in  numerous 
decorative  works  at  Windsor  Castle.  Among  his  pro- 
ductions, the  monument  to  the  Princess  Charlotte  in  St. 
George's  Chapel  w\as  greatly  admired  by  many.  The 
dead  body  of  the  princess  is  represented  surrounded  by 
weeping  mourners,  while,  above,  the  spirit  is  represented 
ascending  to  heaven.  Wyatt  was  also  employed  in  mon- 
umental sculpture  for  Westminster  Abbey  and  St.  Paul's 
Cathedral. 

The  noble  equestrian  statue  of  the  Duke  of  Wellington 
upon  the  top  of  Green  Park  Arch,  in  front  of  Apsley 
House,  the  residence  of  the  Duke,  is  by  this  sculptor. 
It  represents  him  upon  his  horse,  "  Copenhagen,"  on  the 
field  of  Waterloo.  "  On  fine  afternoons  the  sun  casts  the 
shadow  of  the  Duke's  equestrian  statue  full  upon  Apsley 
House ;  and  the  sombre  image  may  be  seen  gliding  spirit- 
like over  the  front." 

His  statue  of  George  III.,  in  Pall  Mall,  in  London,  is 
among  his  best  works.  The  monument  to  Lord  Nelson, 
in  Liverpool,  is  also  by  Wyatt. 

He  died  in  1862. 


1781]  SIR  FRANCIS  CIIANTREY.  253 


SIR    FRANCIS    CHANTREY. 

SIR  FliANClS  CHANTREY,  an  eminent  English 
sculi)tor,  was  born  at  Jordanthorpe,  in  Derbyshire, 
in  1781.  His  father,  who  was  a  carpenter  in  poor  cir- 
cumstances, died  when  Francis  was  only  twelve  years 
of  age.  Mrs.  Chantrey  gave  her  son  such  advantages  of 
education  as  her  limited  means  would  permit,  but  these, 
it  seems,  were  very  meagre.  In  1797  he  was  apprenticed 
to  a  carver  and  gilder  in  Shettield,  where  he  acquired  the 
rudiments  of  his  future  art.  He  was  fond  of  modelling 
in  clay,  and  by  the  help  of  casts  from  tlie  faces  of  his 
fellow-apprentices  and  his  own,  he  produced  models  of 
considerable  excellence.  He  displayed  a  taste  for  paint- 
ing also,  and  executed  some  portraits  in  miniature.  He 
received  some  instruction  in  painting,  but  sculpture  proved 
to  be  his  true  vocation. 

Chantrey  remained  five  years  with  the  Sheffield  manu- 
facturer, and  afterwards  went  to  London  and  to  Dublin, 
probably  in  the  capacity  of  a  journeyman  carver  and 
gilder,  but  the  circumstances  of  his  career  at  this  period 
are  not  accurately  known.  He  later  became  a  pupil  at 
the  Royal  Academy  in  London,  and  in  1804  exhibited  a 
portrait  in  oil.  In  the  following  year  he  exhibited  sev- 
eral busts,  which  gave  proof  of  his  ability  in  sculpture. 
It  is  .said  that  Xollekens  was  one  of  the  first  to  recognize 
the  merits  of  Chantrey  as  a  sculptor,  and  to  promote  his 
success.  Though  laboring  in  the  same  department  in 
which  he  was  him.self  eminent,  Xollekens  seems  to  have 
felt  no  envy  or  jealou.sy,  but  in  an  exhibition  at  tlie 
Academy  ordered  one  of  liis  own  busts  to  be  removed 
that  one  by  Chantrey  might  l)e  put  in  it.s  place. 


254  SCULPTORS  OF  THE  RENAISSANCE.  [178L 

In  the  early  part  of  his  career  as  an  artist,  Chantrey 
was  on  one  occasion  invited  to  dine  with  the  poet  Samuel 
Eogers.  Observing  his  guest  looking  intently  at  tlie  side- 
board, the  host  inquired  the  reason.  "  Don't  you  remem- 
ber," replied  the  sculptor,  "  getting  out  your  prints,  and 
directing  those  carvings  to  the  man  who  made  that  side- 
board, and  that  a  boy  with  him  copied  the  engravings  ?  — 
that  was  me,  and  I  carved  them." 

In  1818  Chantrey  became  a  member  of  the  Eoyal 
Academy;  the  following  year  he  visited  Italy,  and  was 
elected  a  member  of  the  Academies  of  Eome  and  Florence. 
After  his  return  to  England  he  continued  his  labors  with 
success,  executing  many  portrait  busts  and  statues,  and 
some  ideal  works  in  sculpture.  In  1835  he  received  the 
honor  of  knighthood  from  William  IV. 

In  ideal  sculpture  Chantrey  does  not  occupy  a  high 
rank,  but  his  portraits  are  remarkable  for  truth  to  nature. 
He  executed  a  great  number  of  statues  and  busts  of  his 
eminent  contemporaries.  Among  his  best  works  is  a 
colossal  statue  of  James  Watt,  in  St.  Paul's  Chapel  of 
Westminster  Abbey.  It  is  considered  a  perfect  likeness 
of  the  great  engineer.  Other  portrait  statues  by  him  are 
to  be  seen  in  Westminster  Abbey.  In  St.  Paul's  Cathe- 
dral is  a  kneeling  figure  of  Bishop  Heber  by  Chantrey. 
In  the  State  House  at  Boston  is  a  statue  of  Washington 
by  him. 

Sir  Francis  died  in  1841.  He  had  accumulated  a  large 
fortune,  which  he  bequeathed  to  his  wife  during  her  life, 
and  afterwards  to  the  Eoyal  Academy  for  the  encourage- 
ment of  English  art.  Lady  Chantrey  died  in  1875,  and 
her  husband's  fortune  passed  to  the  Academy. 


1784.]  FRANCOIS  RUDE.  255 


FRAN9OIS    RUDE. 

FPiAXC^OIS  RUDE  was  an  eminent  Freucli  sculptor, 
born  at  Dijon,  in  1784.  In  1812  he  went  to 
Home,  where  he  remained  for  twelve  years,  or  longer. 
His  study  of  antique  art  there  is  manifest  in  his  works. 
He  had  aliso  a  fine  feeling  for  nature,  and  his  creations 
are  remarkable  for  freshness  and  lifelike  expression. 

For  the  Arc  de  I'^fitoile  in  Paris,  Rude  sculptured  in  high- 
relief  his  "  Marseillaise,"  a  representation  of  the  French 
marching  forth  for  the  defence  of  the  Republic,  in  1792. 
Above  the  groups  of  the  soldiery  hovers  the  forbidding 
figure  of  Belloua,  the  goddess  of  war,  described  by  one 
writer  as  "  vehemently  striding  forwards  in  spite  of  her 
large  wings,  so  that  she  looks  exactly  like  an  equestrian 
performer  standing  on  two  horses."  In  her  coarse  fierce- 
ness of  aspect,  however,  she  is  not  an  inappropriate  rep- 
resentation of  tUe  murderous  goddess  whose  only  delight 
is  in  devastation  and  death. 

In  the  cemetery  of  Montmartre  is  the  monument  of 
Godefroy  Cavaignac,  the  French  republican  chief,  by 
Rude.  It  is  admirably  executed,  but  unpleasantly  natu- 
ralistic in  style.  He  executed  a  statue  of  Joan  of  Arc, 
in  marble,  for  the  gardens  of  the  Luxembourg,  whicli  is 
a  very  beautiful  work.  The  heroine  is  represented  Mitli 
Ijead  upraised,  in  the  attitude  of  listening  to  the  voice  of 
the  Virgin,  which  declares  to  her  her  mission  :  — 

"  Then  she  touched 
Mine  eyelids,  and  aa  I  upward  turned  my  gaze 
All  heaven  was  full  of  anKfl-boys 
Who  bore  white  lilies  in  tiieir  hands, 
And  .sweetest  tiiusi(!  (loatitl  in  the  air." 


256  SCULPTORS  OF  THE  RENAISSANCE.  [1784. 

The  rapt  and  listening  look  upon  the  face  is  finely  ren- 
dered. In  the  gardens  of  the  Luxembourg  is  also  Eude's 
statue  of  Marshal  Ney  in  bronze.  It  stands  upon  the 
spot  where  the  Marshal  was  shot,  in  1815. 

In  the  Louvre  is  a  brazen  Mercury  by  Eude,  which  is  a 
spirited  production.     He  died  in  1855. 


JOHANN  RUDOLF  SCHADOW. 

JOHANN  EUDOLF  SCHADOW,  son  of  Johann  Gott- 
fried, was  a  sculptor  of  considerable  note.  He  was 
instructed  in  art  by  his  father,  and  in  Eome  studied 
under  Canova  and  Thorvaldsen.  He  executed  a  number 
of  mythological  subjects,  some  of  which  were  much  ad- 
mired, and  he  produced  various  portrait  busts.  His  last 
work,  left  unfinished  at  his  death,  is  declared  to  combine 
the  grandeur  of  Thorvaldsen  and  the  grace  of  Canova. 
It  is  a  group  representing  Achilles  and  Penthesilea.  He 
died  in  1822. 


PIERRE    JEAN    DAVID. 

PIEEEE  JEAN  DAVID,  called  David  of  Angers, 
one  of  the  most  eminent  sculptors  of  France,  was 
born  at  Angers  in  1789.  His  father  was  a  wood-carver, 
and  found  so  little  success  in  his  work  that  he  strenu- 
ously opposed  the  indulgence  of  his  son's  taste  in  the 
direction  of  sculpture.  The  young  man,  however,  seems 
to  have  been  determined  to  follow  his  inclinations,  and 
through  great  difficulties  he  made  his  way  to  Paris,  and 


1789.]  riEllKE  JEAN    DAVID.  25/ 

entered  the  studio  of  David  tlie  painter.  He  was  after- 
wards instructed  by  Iioland,  Professor  of  Sculpture  in  the 
Academy  of  Fine  Arts.  After  gaining  several  academic 
prizes,  he  won,  in  1811,  the  Grand  Prize,  which  enabled 
him  to  study  in  Pome.  He  remained  in  Pome  for  five 
years,  and  on  his  return,  being  unwilling  to  remain  in 
Paris  under  the  Bourbons,  he  attempted  to  establish  him- 
self in  England,  but  was  unsuccessful.  He  finally  re- 
turned to  Paris,  commencing  in  earnest  his  artistic  career. 

About  1824,  David  established  his  reputation  by  a 
statue  of  the  Prince  of  Conde.  He  executed  numerous 
portrait  statues  and  busts,  and  medallions,  and  received 
commissions  for  various  public  and  monumental  works. 
In  1825,  the  Cross  of  the  Legion  of  Honor  was  conferred 
upon  him;  he  was  made  a  member  of  the  Institute,  and 
became  Professor  in  the  Academy  of  Fine  Arts. 

In  1831  David  was  commissioned  by  the  government 
to  adorn  the  I'antheon  at  Paris  with  sculptures.  He  de- 
signed for  the  pediment  a  large  allegorical  scene,  repre- 
senting the  country  bestowing  wreaths  of  victory  upon 
her  heroes,  in  illustration  of  the  inscription  upon  the 
building:  "  Aux  grands  hommes  la  patrie  reconnaissante." 

Dr.  Liibke  thus  comments  upon  this  work  :  —  "  In  the 
centre  is  the  serious  figure  of  the  Fatherland,  in  severely 
anti(|ue  drapery ;  on  both  sides  great  men,  the  heroes  of 
mind  and  sword,  —  among  them  General  Ponaparte,  who 
is  hastily  advancing  amid  the  gloomy  warriors  of  the 
Pepublic,  to  gain  one  of  tlie  extended  wreaths  of  victory. 
The  realistic  variety  of  tlie  groups,  in  the  boldly  treated 
co.stumes  of  the  jicriod,  and  the  iticturescjue  freedom  of 
the  arrangement,  jjrevent  any  really  plastic  effect,  and, 
in  sjiite  of  the  spirit  and  characteristic  life  displayed,  we 
cannot  for'fct  that  the  iin'IVaL'ablc  and  fiiiidaiiK  iital  laws 


258  SCULPTORS  OF  THE  RENAISSANCE.  [1789. 

of  architectural  plastic  decoration  are  here  wantonly  and 
unpleasingiy  trifled  with." 

David  prefered  to  employ  his  talent  upon  republican 
subjects,  and  the  production  of  the  portrait  statues  and 
busts  of  those  who  had  been  of  use  to  society  in  their 
day.  Among  his  works  of  this  class  are  the  spirited  and 
lifelike  portraits  of  Washington,  Lafayette,  Lamartine, 
Goethe,  Cuvier,  Alexander  von  Humbolt,  Eauch,  and 
Tieck.  He  executed  a  statue  of  Thomas  Jefferson  signing 
the  Declaration  of  Independence,  which  is  in  the  Hall  of 
Statuary  at  Washington. 

David  was  earnest  and  enthusiastic  in  the  pursuit  of 
art,  and  in  the  history  of  modern  sculpture  he  occupies  a 
distinguished  place.  One  of  his  own  countrymen  says  of 
him  :  "  He  combined  great  talent  with  a  noble  mind  and 
an  independent  spirit,  and  has  left  an  example  of  a  stain- 
less life  from  birth  to  death." 

He  died  in  1856,  and  was  buried  in  P^re  la  Chaise. 


JACQUES    PRADIER. 

JACQUES  PRADIER  was  a  French  sculptor  of  high 
reputation,  born  in  Geneva,  in  1790.  The  taste  for 
art  which  he  displayed  in  early  life  was  discouraged  by 
his  parents,  and  he  was  apprenticed  to  a  watchmaker. 
He  displayed  so  much  talent  in  the  ornamental  parts  of 
the  work  that  he  was  permitted  to  follow  his  bent,  and 
was  placed  as  a  pupil  in  the  School  of  Design,  afterwards 
entering  the  studio  of  the  sculptor  Lemot.  He  assisted 
his  master  in  the  sculptures  of  the  Louvre,  and  in  1813 
gained  the  first  prize  of  the  Academy  of  Art  in  Paris  for 


179a]  JACQUES  PIUDIER.  259 

the  superior  execution  of  a  bas-relief.  He  studied  for  a 
time  in  Hume,  and  then  returned  to  Paris,  where  he  was 
employed  in  many  public  works,  and  executed  besides 
many  admired  statues. 

Pradier's  works  are  remarkable  for  softness  and  grace, 
though  he  could  be  grand  and  energetic  at  times.  His 
execution  was  good,  and  he  only  failed  in  loftiness  of 
conception.  One  of  his  finest  works  is  a  Niobe  group, 
now  in  the  Luxembourg.  His  statues  of  Psyche  and 
Atalanta,  in  the  same  gallery,  are  pleasing  and  graceful 
productions.  Prometheus  Chained,  one  of  his  most  vig- 
orous productions,  is  in  the  garden  of  the  Tuileries. 

Pradier  executed  religious  works  for  several  of  the 
churches  of  Paris,  but  his  talent  was  little  suited  to  the 
representation  of  sacred  subjects.  Some  of  the  sculp- 
tures of  Ste.  Clothilde  are  by  his  hand ;  and  for  the  Cha- 
pelle  des  Manages  of  the  Madeleine,  he  executed  a  Mar- 
riage of  the  Virgin.  His  last  work  was  the  execution  of 
twelve  colossal  figures  for  the  tomb  of  Napoleon  in  the 
Hotel  des  Invalides,  emblematical  of  the  victories  of  the 
Emperor. 

Pradier  died  near  Paris,  in  1852,  and  was  buried  in 
Pere  la  Chaise  ;  a  sarcophagus,  with  a  bust  of  the  sculptor, 
was  erected  by  his  pupils. 


THOMAS    CAMPBELL. 

THOMAS  CAMPBELL,  an  eminent  P.ritish  sculptor, 
was  born  at  Clasgow,  in  17'JU.  He  was  apprenticed 
wlicn  young  to  a  marble-cutter,  and  soon  began  to  display 
nmcii  talent  for  sculpture.     A  gentleman  by  whom  he 


260  SCULPTORS  OF  THE   RENAISSANCE.  [i790. 

was  employed  became  interested  in  him,  and  generously 
furnished  him  the  means  of  studying  at  the  Eoyal  Acad- 
emy. He  afterwards  went  to  Eome,  where  he  remained 
for  several  years.  After  his  return  to  his  native  country, 
he  was  employed  in  various  important  works  in  England 
and  Scotland ;  he  was  more  patronized  by  the  nobility 
than  any  other  sculptor  of  his  time. 

Some  of  Campbell's  finest  works  in  monumental  sculp- 
ture are  in  St.  Paul's  in  London.  A  statue  of  Mrs.  Sid- 
dons,  as  Lady  Macbeth,  in  Westminster  Abbey,  is  much 
admired  for  its  character  and  expression. 

While  in  Eome  the  sculptor  executed  a  statue  of 
Pauline  Borghese,  sister  of  Napoleon  I.,  for  the  Duke  of 
Devonshire,  which  is  at  Chatsworth.  His  statue  of  Lord 
Bentinck  is  in  Cavendish  Square. 

He  died  in  London,  in  1858. 


JOHN    FRAZEB. 

JOHN"  FEAZEE  was  born  in  Eahway,  New  Jersey,  in 
1790.  The  family  name  was  Eraser,  but  it  was 
changed  by  the  grandfather  of  John  to  Frazee.  He  is 
distinguished  as  the  first  sculptor  of  American  birth  and 
parentage.  His  boyhood  was  attended  with  misfortune, 
and  passed  in  drudgery,  his  mother's  instructions,  it  is 
said,  being  the  only  redeeming  element  in  his  early  life. 
He  was  fond  of  carving  in  wood,  and  having  also  shown 
that  he  could  use  the  chisel  with  some  skill,  he  was  em- 
ployed by  a  stone-cutter.  He  afterwards  became  pro- 
prietor, in  company  with  Launitz,  of  a  marble-yard  in 
New  York,  and  devoted  himself  to  various  ornamental 


1790]  JOHN   FRAZEE.  261 

works  in  stone.  The  only  examples  of  plastic  art  he  had 
ever  seen  were  casts  from  antique  sculpture  which  were 
sent  hy  Xapoleou  to  the  New  York  Academy  of  Fine 
Arts,  Gaining  an  introduction  to  Trumbull,  then  Presi- 
dent of  the  Academy,  Frazee  asked  for  advice  and  assist- 
ance in  the  study  of  the  art ;  but  that  gentleman  declared 
that  "nothing  in  sculpture  wouhl  be  wanted  in  this  coun- 
try for  a  hundred  years."  The  enthusiastic  artist  was  not 
discouraged  by  this  prophecy,  but  pursued  his  way,  as 
best  he  could,  in  the  development  of  his  beloved  art,  and 
he  is  to  be  gratefully  regarded  as  one  of  the  pioneers  of 
American  sculpture. 

In  1824  Frazee  executed  a  marble  bust  of  John  Wells, 
Esq.,  which  is  said  to  be  the  first  portrait  bust  by  a  na- 
tive sculptor.  It  was  placed  in  Grace  Church,  in  New 
York.  His  first  ideal  work  was  a  figure  of  Grief,  which 
he  modelled  after  the  death  of  his  child.  His  principal 
works  consist  of  portrait  busts.  In  the  Pennsylvania 
Academy  of  Fine  Arts  is  a  bust  of  the  sculptor  by  him- 
self, and  one  of  Chief  Justice  jNIarshall.  His  bust  of  John 
Jay  is  in  the  United  States  Supreme  Court  Eoom.  He 
made  busts  of  various  other  distinguished  Americans. 


JOHN    GIBSON. 

JOHN  GIBSON,  one  of  the  most  distinguished  of  mod- 
ern sculptoi-s,  was  born  at  Conway,  in  North  Wales, 
in  1791.  His  ancestors  were  of  Scottish  extraction,  being 
descended  from  the  Clan  Macgregor;  his  grandfatlier  had 
been  forced  by  the  .strife  of  tlie  time  to  assume  the  name 
of  Gibson.     His  father  was  a  market-gardener  in  Con- 


262  SCULPTORS  OF  THE  RENAISSANCE.  [i79i. 

way,  and  removed  to  Liverpool  when  he  was  a  lad  nine 
years  of  age.  From  his  early  childhood  he  had  shown  an 
instinctive  taste  for  drawing,  and  was  in  the  habit  of 
sketching  pictures  of  domestic  animals  which  he  saw 
around  him.  In  Liverpool  he  began  to  reproduce  the 
pictures  which  he  saw  in  the  shop  windows,  displaying 
considerable  skill. 

At  the  age  of  fourteen  he  was  apprenticed  to  a  cabinet- 
maker, but  was  afterwards  placed  with  a  wood-carver. 
His  talent  in  this  branch  attracted  the  attention  of  influ- 
ential gentlemen,  who  gave  him  not  only  encouragement, 
but  substantial  assistance,  which  enabled  him  to  follow 
his  strong  inclination  for  art.  William  Roscoe,  the  dis- 
tinguished historian  and  patron  of  literature  and  the  fine 
arts,  invited  young  Gibson  to  his  country  seat,  and  allowed 
him  to  study  and  copy  the  fine  specimens  of  ancient  art 
in  his  collection. 

In  1817  he  went  to  Rome,  where  he  was  received  into 
the  studio  of  Canova.  His  first  important  work  was  a 
group  of  Mars  and  Cupid,  which  won  high  praise  from 
his  master,  and  which  was  reproduced  in  marble  for  the 
Duke  of  Devonshire;  it  is  in  the  collection  at  Chats- 
worth.  He  next  produced  Psyche  borne  by  the  Zephyr, 
for  Sir  George  Beaumont ;  copies  of  it  were  also  made  for 
Prince  Torlonia,  and  for  the  Grand  Duke  of  Russia. 

After  the  death  of  Canova,  Gibson  became  the  pupil  of 
Thorvaldsen.  He  had  been  a  faithful  disciple  of  Canova, 
acquiring  the  peculiar  softness  and  grace  of  that  master's 
style,  and  in  the  studio  of  Thorvaldsen  he  was  stimulated 
to  the  study  of  the  antique.  Thus,  without  losing  his 
own  individuality,  he  profited  by  the  example  and  teach- 
ins  of  two  of  the  greatest  of  modern  artists,  and  formed  a 
style  of  the  highest  purity. 


1791]  JOHN  GIBSON.  263 

lu  IS 36,  Gibson  was  elected  a  member  of  the  Eoyal 
Academy  of  London,  and  be  occasionally  contributed  to 
its  annual  exhibitions;  but  he  continued  to  reside  in 
Rome,  making  visits,  at  long  intervals,  to  England.  He 
executed  a  large  number  of  works  from  classical  subjects, 
which  are  remarkable  for  an  exquisite  refinement  and 
purity.  He  introduced  the  innovation  of  tinting  his 
sculptures,  which  occasioned  much  discussion,  and  has 
been  condemned  by  many,  although  the  sculptor  defended 
the  practice  by  a  reference  to  Grecian  precedents. 

Among  his  portrait  statues  is  that  of  Queen  Victoria, 
now  in  Buckingham  Palace ;  and  another  for  the  Palace 
of  "Westminster,  which  is  placed  opposite  to  the  door  in 
the  Prince's  Chamber.  In  this  portrait  of  Victoria  the 
sculptor  lias  produced  a  statue  of  almost  ideal  beauty,  and 
yet  a  remarkable  likeness.  Allegorical  figures  of  Justice 
and  Clemency,  on  either  side  of  the  Queen,  complete  the 
group.  For  St.  George's  Hall,  in  Liverpool,  he  executed 
a  statue  of  George  Stevenson.  In  the  cemetery  of  St. 
James  in  Liverpool  is  a  fine  statue  in  marble  of  Mt.  Hus- 
kisson,  the  eminent  statesman,  and  a  duplicate  in  bronze 
stands  in  front  of  tlie  custom-house.  This  city  is  espe- 
cially rich  in  the  works  of  Gibson,  the  inhabitants  regard- 
ing him  witli  great  pride. 

Many  public  and  jirivate  collections  in  England  contain 
examples  of  Gibson's  sculpture.  A  fine  collection  of  casts 
from  his  best  works  is  in  the  Crystal  Palace  at  Syden- 
ham, and  an  interesting  collection  of  models  and  sketches 
wliich  lie  l)equeatlied  to  the  nation  is  now  in  a  gallery 
of  the  Ptoyal  Academy. 

Mr.  Gibson  was  a  bachelor,  and  spent  a  life  of  quiet 
and  single  devotion  to  his  art,  caring  little  for  anything 
beyond  his  studio.     He  was,  however,  always  ready  to 


264  SCULPTORS  OF  THE  RENAISSANCE.  [i79i. 

bestow  friendly  encouMgement  and  assistance  upon  young 
artists  who  visited  Eoine  for  improvement,  and  his  studio 
was  the  resort  of  patrons  and  lovers  of  art.  He  died  in 
Eome  in  1866. 


'WILLIAM    BBHNES. 

"TTTILLIAM  BEHNES  was  born  in  London,  in  1794 

V  V  His  father  was  a  German  piano-forte  maker, 
who  had  married  an  English  wife  and  settled  in  London. 
He  first  learned  his  father's  trade,  at  which  he  became 
a  very  skilful  workman ;  but  having  a  taste  for  art,  he 
commenced  painting,  and  met  with  considerable  success 
as  a  portrait-painter.  He  then  undertook  sculpture,  and 
his  success  in  this  branch  brought  him  fame  and  distin- 
guished patronage,  though  it  is  said  that  he  afterwards 
regretted  having  abandoned  his  brush  for  the  chisel.  He 
produced  portrait  statues  and  busts  of  very  great  excel- 
lence, and  was  much  employed  by  members  of  the  royal 
family,  and  by  various  public  bodies,  in  the  execution  of 
monumental  works. 

Behnes's  works,  which  are  perhaps  more  numerous  than 
those  of  any  other  sculptor  of  modern  times,  are  remark- 
able for  clearness  of  conception  and  vigorous  execution. 
He  excelled  especially  in  the  delineation  of  childhood. 

Among  the  best  of  his  statues  is  that  of  Dr.  Babington, 
in  St.  Paul's  Cathedral.  In  Westminster  Abbey  is  his 
monument  to  Dr.  Andrew  Bell.  A  statue  of  Sir  Henry 
Havelock,  by  him,  is  in  Trafalgar  Square. 

Though  enjoying  unusual  success  in  early  life,  his 
affairs  later  became  much  embarrassed,  and  the  aged 
sculptor  died  in  Middlesex  Hospital,  in  1864 


1796.]  ANTOINE  LOUIS  BARYE.  265 


ANTOINE    LOUIS    BARYE. 

AXTOIXE  LOUIS  BAEYE,  a  French  sculptor  of 
animals,  was  born  at  Paris  in  1795.  He  was  the 
son  of  poor  parents,  and  it  may  be  said  that  the  prelimi- 
nary knowledge  of  his  future  art  was  gained  when,  as  a 
child,  he  frequented  the  Jardin  des  Plantes.  His  extraor- 
dinary interest  in  the  menagerie  attracted  the  attention 
of  an  old  keeper,  who  gave  him  much  information  regard- 
ing the  habits  of  various  animals.  At  the  age  of  thirteen 
he  was  placed  in  the  studio  of  the  engraver  Fourier ;  he 
studied  also  under  Bosio  and  Gros,  and  finally  became  a 
pupQ  at  the  Academy  of  Fine  Arts. 

For  many  years  Barye  labored  without  much  success, 
and  he  was  past  middle  age  w^hen  his  productions  began 
to  receive  the  appreciation  they  had  long  deserved.  The 
first  work  which  attracted  general  attention  was  his  now 
famous  Lion,  in  bas-relief  upon  the  Colonne  de  Juillet, 
in  the  Place  de  la  Bastille,  which  commemorates  the  Picvo- 
lution,  and  the  "  July  heroes "  who  were  buried  on  the 
spot.  The  lion,  as  a  symbol  of  the  eventful  month,  is 
carved  upon  the  pedestal  of  the  column,  —  a  massive 
figure,  full  of  strength  and  life. 

Barye's  works  were  exhibited  at  the  Salon  for  many 
years.  In  1848  he  was  aj)i)oiuted  Keeper  of  Models  and 
Moulds  at  the  Louvre.  In  1850  he  was  intrusted  with 
the  care  of  the  natural  history  courts  of  design  at  Ver- 
sailles, and  in  1854  received  charge  of  those  at  the  Paris 
Museum. 

As  a  sculptor  of  animals  this  artist  was  almost  un- 
rivalled. Among  his  masteriJicccs  are  a  Lion  stmngling 
a   Boa,  in  the  gardens  of  the  Tuileries ;   and   a  Jaguar 


266  SCULPTORS  OF  THE  RENAISSANCE.  [1795. 

devouring  a  Hare,  in  the  gallery  of  the  Luxembourg.  Four 
allegorical  figures  of  Peace,  War,  Force,  and  Order,  by 
Barye,  adorn  the  pavilion  of  the  new  Louvre. 

A  very  large  collection  of  Barye's  works  were  pur- 
chased in  1873,  for  the  Corcoran  Gallery  of  Art  in  Wash- 
ington, from  the  artist  himself;  it  numbers  more  than  a 
hundred  pieces,  and  consists  of  a  great  variety  of  subjects 
conceived  and  executed  in  his  vigorous  and  realistic 
style. 

Mr.  MacLeod,  in  his  account  of  this  artist  and  his  works, 
relates  an  incident  illustrating  his  marvellous  knowledge 
of  the  nature  and  instincts  of  animals :  "  When  Gerome 
had  painted  the  lions  in  his  'Christian  Martyrs,'  he  called 
in  Barye  to  see  liis  treatment  of  the  beasts,  which  he  had 
represented  as  just  released,  with  eager,  ravenous  looks, 
ready  to  spring  upon  the  victims.  Barye  at  once  said 
that  it  was  not  natural,  —  that  the  hungriest  lion,  sud- 
denly confronting  the  bright  air  and  a  crowded  arena, 
would  hesitate  and  recoil  bewildered  at  the  sight.  Ge- 
rome took  the  hint,  and  always  met  the  compliments 
upon  the  fine  conception  of  his  lions  by  giving  the  merit 
to  Barye." 

Mr.  Barye  was  a  man  of  most  simple  and  unpretending 
manners,  leading  a  singularly  quiet  and  unostentatious 
life.  Though  success  came  late,  his  genius  was  eventu- 
ally fully  recognized  and  rewarded,  and  he  bore  the  rep- 
utation of  "the  first  animal  sculptor  of  France." 
He  died  in  1875. 


1795.]  RICHAIID  J.   WYATT.  267 


RICHARD    J.     WYATT. 

RICHARD  J.  WYATT  was  born  in  Loudon  in  1795. 
He  studied  in  London  under  Eossi  for  seven 
years,  after  which  he  went  to  I'aris  and  became  the  pupil 
of  Bosio.  Later  he  went  to  Eome,  where  the  greater 
part  of  his  life  was  spent.  He  was  intimate  with  Canova, 
and  profited  much  by  the  advice  and  instruction  of  the 
illustrious  sculptor.  Wyatt  was  an  artist  of  great  in- 
dustry, and  produced  a  large  number  of  works  which  are 
distinguished  by  purity  of  style  and  elegance  of  finish. 
He  died  in  1850. 


PHILIPPE    HENRI    LEMAIRE. 

PHILIPPE  HENEI  LEMAIEE,  a  French  sculptor, 
was  born  at  Valenciennes  in  1798.  He  studied 
in  France,  and,  after  attaining  to  considerable  eminence 
in  his  profession,  went  to  Eome  for  study,  devoting  him- 
self to  the  classic  style.  Between  1826  and  1834  he 
executed  the  relief  for  the  pediment  of  the  church  of  the 
Madeleine  in  Paris,  which  is  his  most  remarkable  pro- 
duction. It  is  one  hundred  and  twenty-five  feet  in  length, 
and  twenty-three  feet  in  height,  representing,  in  high 
relief,  tlie  Last  Judgment.  In  the  centre  is  a  colossal 
figure  of  Christ ;  on  his  right  are  the  righteous,  with  the 
angel  who  has  just  sounded  tlie  last  trump;  on  his  left 
are  the  wicked,  with  Mary  Magdalene  in  intercession  for 
them.  Liibke  says  of  this  work :  "  This  subject,  which 
tlie  Middle  Ages,  with  their  symbolic  arrangement,  could 


268  SCULPTORS  OF  THE  RENAISSANCE.  [1798. 

depict  so  excellently,  and  could  gradate  so  perspectively, 
is  opposed  to  the  arrangement  of  a  temple  pediment, 
which  unites  on  the  same  plane  of  surface  the  Judge 
of  the  world,  the  Angels  and  Saints,  the  risen  and  the 
condemned." 

The  pediment  of  the  church  of  St.  Vincent  de  Paul  in 
Paris  is  adorned  with  a  relief  by  Lemaire  representing  St. 
Vincent  de  Paul  with  the  figures  of  Paith  and  Charity  on 
either  side.  In  the  little  Chapelle  Expiatoire,  erected 
to  the  memory  of  Louis  XVI.  and  Marie  Antoinette,  who 
were  buried  on  the  spot,  is  a  bas-relief  by  Lemaire,  exe- 
cuted above  the  entrance  in  the  interior,  representing  the 
removal  of  the  remains  of  the  king  and  queen  to  St. 
Denis,  in   1817. 

Some  of  Lemaire's  sculptures  are  to  be  seen  in  the 
Gallery  of  the  Luxembourg.     He  died  in  Paris,  in  1880. 


RICHARD    WESTMACOTT. 

EICHAED  WESTMACOTT,  eldest  son  of  Sir  Richard 
Westmacott,  was  born  in  London  in  1799.  He 
received  his  first  instruction  in  art  from  his  father,  and 
at  the  age  of  nineteen  entered  the  Ptoyal  Academy,  where 
he  remained  for  two  years.  He  was  then  sent  to  Italy 
for  study,  where  he  remained  six  years.  After  his  return 
to  England,  he  was  much  occupied  with  the  production 
of  works  of  an  imaginative  character.  In  1849  he  was 
elected  a  member  of  the  Royal  Academy,  and  in  1857 
he  succeeded  his  father  as  Professor  of  Sculpture. 

The  works  of  this  artist  are  chiefly  of  a  devotional  and 
classical  character,  though  he  executed  a  number  of  por- 


1799]  RICHARD  WESTMACOTT.  269 

trait  busts.  They  are  rather  remarkable  for  grace  than 
for  power,  and  they  manifest  careful  study  and  thorough 
knowledge  of  art. 

Among  his  principal  works  are  sepulchral  monuments : 
in  the  catliedral  of  Canterbury,  a  recumbent  statue  of  Dr. 
Howley,  Archbishop  of  Canterbury ;  the  monument  of  the 
Earl  of  Hardwicke,  at  Wimpole ;  and  a  bas-relief  repre- 
senting "VVyclifle  preaching  to  the  people  in  the  church 
at  Lutterworth.  Examples  of  his  classical  productions 
are  in  various  English  collections. 

"SVestmacott's  opinion  was  accounted  of  value  upon  all 
matters  pertaining  to  his  profession,  and  lie  was  the 
author  of  various  works  upon  art,  tlie  princijial  of  wliich 
is  a  "  Handbook  of  Ancient  and  Modern  Art,"  published 
in  18G4     He  died  in  1872. 


LUDWIG    MICHAEL    SCHWANTHALER. 

LUDWIG  ISIICHAEL  SCHWANTHALER,  one  of 
the  most  eminent  among  modern  German  sculp- 
tors, was  born  in  ^lunich  in  1802.  His  father  w^as  a 
sculptor  of  small  reputation,  wlio  placed  him  in  the 
Academy  at  Munich,  where  he  received  his  early  edu- 
cation in  art.  The  talents  of  the  young  man  attracted 
the  attention  of  King  I^Iaximilian,  who  engaged  him  to 
decorate  a  silver  table-service  with  reliefs,  representing 
tlie  entrance  of  the  younger  deities  to  Olympus.  This  he 
accomplished  in  so  acceptable  a  manner  that  he  was  em- 
jiloyed  to  execute  reliefs  for  the  decoration  of  the  Glyp- 
tothek.  He  went  to  Rome,  where  he  passed  a  year  in 
study,  and  while  tliere  produced  the  bas-reliefs  of  the 


270  SCULPTORS  OF  THE  RENAISSANCE.  [1802. 

Birth  of  Venus,  and  Cupid  and  Psyche,  which  are  in  the 
Glyptothek.  He  afterwards  executed  for  the  same  edi- 
fice two  fine  bas-reliefs  illustrating  scenes  from  Homer, 
known  as  the  Battle  by  the  Ships,  and  Achilles  strug- 
gling in  the  Scamander.  The  Eoyal  Palace  he  also  dec- 
orated with  reliefs  of  the  Crusades.  Of  these  Dr.  Liibke 
says :  "  An  overwhelming  imagination  and  a  rare  inex- 
haustibleness  of  invention  gush  forth  in  these  works,  and 
prove  what  ease  of  production  belonged  to  the  master. 
In  the  richness  of  his  creative  power  he  stands,  perhaps, 
foremost  among  all  modern  sculptors.  But  the  weakness 
of  an  enfeebled  frame,  and  probably  also  the  rapidity 
with  w^hich  King  Ludwig  urged  forward  his  Munich 
works,  rarely  allowed  Schwanthaler  to  arrive  at  a  pure 
perfection  of  form,  so  that  most  of  his  productions,  in 
spite  of  the  spirited  life  of  the  design,  fail  in  presenting 
a  truly  lifelike  impression,  and  rather  acquire  a  super- 
ficial and  decorative  effect." 

Among  his  chief  works  are  the  pediment  sculptures 
of  the  Walhalla  at  Eatisbon.  This  building,  founded  by 
King  Ludwig  in  1830,  is  one  of  the  most  magnificent, 
structures  in  the  world.  It  was  designed  by  Klenze,  of 
the  purest  Doric  order,  constructed  of  gray  marble,  and 
surrounded  by  fifty-two  fluted  columns.  Upon  the  north 
pediment,  Schwanthaler  represented  the  battle  of  Armi- 
nius;  and  upon  the  south,  Germania  regaining  her  liberty 
after  the  battle  of  Leipsic. 

In  the  Loggie  of  the  Pinakothek  at  Munich  are  twenty- 
four  statues  of  celebrated  painters  by  Schwanthaler.  In 
front  of  the  Hall  of  Fame  (Euhmeshalle)  is  a  colossal 
ideal  statue  of  Bavaria,  which  is  considered  one  of  his 
masterpieces.  This  colossal  work  is  of  bronze,  sixty- 
nine  feet  in  height,  exclusive  of  the  pedestal,  and  is  of 


1802.]  LUDWIG  MICHAEL   SCHWANTHALER.  271 

monumental  grandeur.  He  executed  various  memorial 
statues,  among  which  are  those  of  Mozart  at  Salzburg ; 
Jean  Paul  at  Baireuth  ;  and  Goethe  at  Frankfort.  The 
latter  was  erected  in  1844,  and  represents  the  figure  of 
the  poet  standing,  with  a  wreath  of  laurel  in  his  hand, 
upon  a  pedestal  adorned  with  reliefs,  representing  scenes 
from  his  ■vmtings. 

The  Propyla^a  at  Munich,  a  building  in  imitation  of 
the  Acropolis  at  Athens,  is  ornamented  with  sculptures 
by  Schwanthaler  representing  scenes  from  the  Greek  wars 
of  independence,  and  the  n^imc  of  King  Otho.  In  the 
palace  of  the  Duke  Max  is  a  marble  frieze  representing 
the  story  of  Bacchus,  by  tliis  sculptor.  For  the  entrance 
to  the  Library  he  executed  statues  of  the  founder,  Albert 
v.,  and  the  builder,  Lewis  I.  Above  the  portal  of  the 
Ludwigskirche,  built  between  1829  and  1842  by  Gart- 
ner, are  statues  of  Christ  and  the  four  Evangelists,  by 
Schwanthaler.  For  the  porch  of  the  Festsaalbau  he  ex- 
ecuted eight  allegorical  figures  in  marble  limestone ;  and 
for  the  throne-room  of  the  same  building,  twelve  gilded 
bronze  statues  of  the  ancestors  of  the  house  of  Wittels- 
bach. 

In  1835  this  sculptor  was  appointed  Professor  in  the 
Academy  of  Fine  Arts  at  Munich.  He  died  in  1848,  and 
was  buried  in  the  New  Cemetery, — a  burial-place  after 
the  style  of  the"  Campo  Santo  at  Pi.sa,  and  tliat  at  Genoa, 
—  the  finest  in  Germany.  The  tombs  at  the  right  and 
left  of  the  entrance  are  those  of  Schwanthaler  the  sculp- 
tor and  Gartner  the  architect. 


272  SCULPTORS  OF  THE  RENAISSANCE.  [1802. 


AUGUSTUS    KISS. 

A  UGUSTUS  KISS  was  a  Prussian  sculptor,  born  at 
J\.  Pless,  in  Upper  Silesia,  in  1802.  He  studied  in 
the  school  of  Eauch,  and  became  distinguished  for  his 
powerful  delineation  of  natural  life.  One  of  his  most 
famous  works  is  the  bronze  group  of  the  Amazon  on 
horseback  attacked  by  a  lioness,  upon  the  steps  of  the 
Old  Museum  at  Berlin.  It  is  full  of  violent  action ;  the 
horse,  frantic  with  fear  and  pain  from  the  teeth  and 
claws  of  the  lioness,  is  modelled  with  great  power.  It 
appears  that  the  sculptor  contemplated  a  companion  group 
for  the  Amazon,  but  he  did  not  live  to  carry  out  the 
design.  Kiss  executed  various  monuments  and  portrait 
statues  in  bronze. 

At  Breslau,  in  the  Grosse  Eing,  a  square  in  the  central 
part  of  the  town,  is  his  equestrian  statue  of  Frederick  the 
Great,  erected  in  1842.  In  the  Pennsylvania  Academy 
of  Fine  Arts  is  the  artist's  model  for  this  work.  In  the 
same  square,  in  Breslau,  is  his  statue  of  Frederick  Wil- 
liam III.,  erected  in  1861.  At  Konigsberg,  in  the  Konigs- 
Garten,  is  his  equestrian  statue  of  the  last-named  mon- 
arch, erected  by  "grateful  Prussia"  in  1851.  Upon  the 
pedestal  are  reliefs,  representing  scenes  in  the  life  of  the 
king.  The  statue  of  the  same  king  which  adorns  the  Wil- 
helms-Platz  in  Potsdam  was  likewise  designed  by  Kiss. 

For  the  church  of  St.  Nicholas  in  Potsdam,  Kiss  exe- 
cuted above  the  entrance  a  relief  of  the  Sermon  on  the 
Mount,  after  a  design  by  Schinkel,  who  was  architect  of 
the  building.  For  the  Park  of  Sanssouci  he  designed 
a  fountain  with  six  colossal  sea-horses. 
Kiss  died  in  1865. 


1802.]  AUGUSTUS  KISS.  2/3 

Among  other  sculptors  of  the  school  of  Eauch  should 
be  mentioned  Herman  Schievelbein  (1817-G7).  He 
^vas  an  artist  of  profound  feeling,  and  great  richness  of 
imagination.  The  group  at  the  back  of  the  Old  Museum 
in  Berlin,  representing  Pegasus  caressed  by  the  Hora3,  is 
in  part  the  work  of  Schievelbein.  His  principal  work  is 
the  magnificent  frieze,  two  hundred  feet  in  length,  which 
adorns  the  Greek  Court  of  the  New  jMuseum  at  Berlin, 
representing  the  ruin  of  Pompeii.  Its  scenes  of  wild 
despair  are  most  movingly  depicted;  in  spite  of  its  terri- 
ble nature,  it  is  full  of  poetic  beauty. 

PiHEiNHOLD  Begas,  a  later  follower  of  the  school,  is  the 
author  of  various  spirited  productions,  among  which  is 
the  Schiller  monument,  erected  in  the  Schiller-Platz  in 
Berlin,  in  1871.  This  beautiful  monument  is  of  Carrara 
marble ;  the  figure  of  Schiller,  nine  feet  in  height,  par- 
tially enveloped  in  a  mantle,  stands  upon  a  pedestal  at 
the  four  corners  of  which  are  allegorical  figures  of  dra- 
matic and  lyric  poetry,  historical  composition,  and  phi- 
losophy. 

In  the  Werder  church,  in  Berlin,  is  an  altar-piece  by 
Begas,  representing  the  Eesurrection. 


ERNST    RIETSCHEL. 

ERXST  IvlETSCHEL,  one  of  the  most  eminent  among 
modern  CJerman  sculptors,  was  born  at  Pulsnitz 
in  Saxony,  in  1804.  His  parents  were  very  poor,  Init 
were  intelligent  and  refined  beyond  their  class.  Ernst 
inlierited  a  love  of  books  and  study,  and  was  especially 


274  SCULPTORS  OE  THE  RENAISSANCE.  [i804. 

fond  of  pictures ;  he  also  began  when  very  young  to  try 
to  draw  what  interested  him,  and  when  his  father  could 
spare  a  few  groscheu  to  buy  him  some  engravings  or 
cheap  water-colors  his  happiness  was  complete.  He 
copied  flowers  and  butterflies,  and  read  every  book  he 
could  get  hold  of,  useful  or  otherwise ;  and  thus,  though 
doomed  to  hard  work  and  poor  fare,  his  childhood  was 
not  an  unhappy  one.  He  said  in  after  life :  "  I  do  not 
pity  any  child  for  having  been  brought  up  in  poverty  and 
privation,  so  long  as  want,  severity,  or  condescending  pity 
do  not  stifle  the  better  feelings,  or  make  him  abject." 

When  sixteen  years  of  age  Ernst  was  apprenticed  to  a 
shopkeeper,  for  he  did  not  wish  to  learn  a  trade ;  but  his 
master  soon  became  discouraged,  declaring  that  the  boy 
was  a  blockhead,  with  no  notion  of  trade.  The  shop- 
keeper's clerk  was  kinder  and  more  observant ;  he  once 
said  to  Ernst :  "  Look  here,  you  ought  to  be  a  painter ; 
you  are  not  cut  out  for  a  shopkeeper.  There  is  an  Acad- 
emy in  Dresden  where  you  can  study  for  nothing.  Talk 
to  your  father  about  it." 

This  delightful  possibility  was  a  beacon  to  the  boy; 
and  though  his  father  looked  upon  the  proposal  as  a  sort 
of  desperation,  he  finally,  through  the  influence  and  as- 
sistance of  some  friends,  became  established  as  a  student 
at  the  Academy  in  Dresden,  in  1820.  He  lived  in  great 
privation,  but  labored  with  passionate  ardor  for  three 
years.  At  the  end  of  that  time  he  was  induced  to  en- 
gage in  the  work  of  modelling  for  an  iron  foundry,  and 
three  years  were  spent  in  the  study  and  practice  required 
for  this  branch  of  art,  under  poor,  or  indifferent  teachers. 
The  artist  afterwards  counted  it  as  time  lost,  or  worse ; 
for  he  had  adopted  many  things  which  it  required  more 
time  to  unlearn. 


18M.]  ERNST  RIETSCHEL.  275 

In  1S26  Paetschel  went  to  Berlin  and  became  a  student 
in  the  atelier  of  Eauch,  where  he  made  rapid  progress 
under  a  most  sympathetic  master.  A  few  years  later  he 
became  entitled  to  the  Grand  Prize  of  the  Academy  of 
Berlin,  for  the  execution  of  a  bas-relief  illustrating  the 
story  of  Penelope ;  but  being  a  subject  of  Saxony  instead 
of  Prussia,  it  was  found  that  the  statutes  of  the  Academy 
forbade  his  receiving  the  accompanying  annuity,  which 
would  enable  him  to  study  in  Eome.  However,  upon 
the  recommendation  of  the  Berlin  Academy,  hi?  own  gov- 
ernment paid  the  stipend,  and  he  Avas  enabled  to  pursue 
his  studies  in  Italy.  Previous  to  his  departure  he  ac- 
companied Pauch  to  Munich,  where  he  assisted  him 
upon  the  monument  of  King  IMaximilian  Joseph,  and 
modelled  one  of  the  figures  for  the  pediment  of  the 
Gl}'jitothek. 

In  studying  the  art  treasures  at  Florence  he  found 
great  enjoyment.  The  scidptures  of  Ghiberti,  Verocchio, 
and  Luca  della  Eobbia,  and  the  paintings  of  Masaccio 
and  Ghirlandajo,  especially  attracted  him.  Michael  An- 
gelo  did  not  at  first  please  him,  as  he  honestly  confessed, 
but  in  his  mature  time  the  works  of  the  great  Florentine 
were  appreciated  by  him  as  they  have  been  by  few  mod- 
ern sculptors. 

After  Rietschel's  return  to  Germany,  the  first  public 
work  with  which  he  was  commissioned  was  a  colossal 
bust  of  Luther  for  the  Walhalla  at  Munich.  He  wrote 
to  his  master,  Rauch :  "  I  am  to  make  a  bust  for  the  Wal- 
halla, and  only  guess  of  whom !  Luther !  I  am  more 
pleased  than  I  can  say."  Singularly,  the  sul)ject  which 
formed  the  real  beginning  of  his  artistic  career  was  the 
same  with  which  it  closed,  in  the  full  maturity  of  his 
powers. 


276  SCULPTORS  OF  THE  RENAISSANCE.  [i804. 

In  1832,  Eietschel  settled  in  Dresden,  and  was  ap- 
pointed Professor  of  Sculpture  in  the  Academy.  With 
a  happy  home  and  congenial  labor,  this  period  may  be 
considered  the  happiest  of  the  artist's  life.  He  said  :  "  I 
dare  not  ask  God  for  more  happiness.  He  has  given  me 
more  than  I  ever  ventured  to  hope  for.  May  He  grant 
me  one  thing  more,  —  the  abiding  consciousness  of  my 
happiness,  that  I  may  thankfully  prize  it,  and  not  lose 
heart  too  soon  if  the  sun  does  not  always  shine."  He 
labored  with  great  assiduity  for  many  years.  His  duties 
at  the  Academy  were  arduous,  and  he  was  also  much 
occupied  with  commissions  for  various  public  works.  In 
all  his  undertakings,  his  aim  was  perfection ;  in  one 
of  his  note-books  was  found  written,  "  It  has  always 
touched  me  and  filled  me  with  admiration,  that  the 
figures  on  the  pediment  of  the  Parthenon  are  as  highly 
finished  on  the  wall  side  as  in  front,"  —  and  the  same 
principle  was  apparent  in  Eietschel's  own  productions. 

For  the  ornamentation  of  the  Theatre  at  Dresden  (de- 
stroyed by  fire  in  1869)  he  produced  various  allegorical 
and  mythological  works,  which  were  characterized  by  a 
lively  grace.  Por  the  New  Museum,  Eietschel  and  Hah- 
nel  executed  the  plastic  ornaments,  consisting  of  reli- 
gious, mythological,  and  historical  subjects.  The  "At- 
tica "  is  adorned  with  six  large  statues ;  —  those  of  Giotto, 
Holbein,  Diirer,  and  Goethe  are  by  Eietschel;  those  of 
Dante  and  Cornelius,  by  Hahnel. 

In  the  space  enclosed  by  the  New  Museum  is  the 
elaborate  monument  to  Frederick  Augustus,  in  bronze,  by 
Eietschel.  The  figures  of  Justice,  Beneficence,  Piety,  and 
Wisdom,  which  form  a  part  of  it,  are  very  fine. 

For  the  Saxon  Agricultural  Society  he  executed  a 
statue  of  Albrecht  Thaer  (gratefully  regarded  for  his  many 


1801.]  ERNST  RIETSCIIEL.  277 

improvements  in  husbandry),  which  is  considered  a  most 
felicitous  adaptation  of  modern  costume  and  truthful 
portraiture  to  the  noblest  sculptural  treatment.  It  was 
erected  in  Leipsic  in  1850.  The  Goethe  and  Schiller 
monument  in  the  Theatre-Platz  at  Weimar  is  a  celebrated 
work.  It  represents  the  two  standing  side  by  side  upon 
the  same  pedestal,  and  the  artist  is  credited  with  hav- 
ing successfully  portrayed  the  characteristics  of  each. 
He  also  endeavored  to  express  the  friendship  and  union 
between  them  by  the  introduction  of  a  wreath  which  both 
are  holding ;  but  it  may  be  questioned  whether  this  touch 
of  sentiment  does  not  detract  from  the  dignity  of  the 
group.  One  of  his  latest  works  is  the  bronze  statue  of 
"Weber  at  Dresden.  xVs  a  portrait  it  is  considered  excel- 
lent, and  the  listening  attitude  of  the  great  composer  is 
very  expressive.  At  Brunswick  is  his  statue  of  Lessing, 
which  is  highly  appreciated  by  the  German  nation.  His 
portrait  statues  are  among  his  most  distinguished  works, 
as  he  particularly  excelled  in  the  delineation  of  indi- 
vidual characteristics. 

The  grand  Quadriga  for  the  portal  of  the  palace  at 
Brunswick  was  one  of  his  later  works.  In  the  chariot, 
drawn  by  four  magnificent  horses,  is  a  figure  personifying 
the  city  of  Brunswick,  —  one  of  the  artist's  finest  ideal 
creations.  It  was  destroyed  by  fire  in  1865,  but  has 
been  reproduced  in  equal  perfection  from  the  original 
model. 

For  the  buildings  of  the  University  at  Leipsic  he  exe- 
cuted allegorical  grou]»s  representing  Theology,  Philoso- 
phy, I^w,  and  Medicine,  and  twelve  reliefs  illustrating 
the  history  of  civilization. 

Among  the  most  poetic  of  his  ideal  creations  are  the 
four  bas-reliefs  of  Morning,  Noon,  Evening,  and  Night. 


278  SCULPTORS  OF  THE  RENAISSANCE.  [i804 

Morning  is  represented  by  a  joyous-looking  boy^  liolding 
aloft  a  torch  with  one  hand,  while  with  the  other  he 
throws  off  the  drapery  which  flutters  in  the  breeze.  With 
his  foot  he  spurns  the  bird  of  night,  and  the  lark  rises, 
singing,  at  his  side.  Noon,  a  figure  in  the  full  perfection 
of  life,  soars  onward,  holding  in  one  hand  a  garland  of 
sunflowers,  and  grasping  at  a  butterfly  with  the  other. 
Evening  floats  wearily  in  the  air,  with  folded  wings,  a 
pensive  and  dreamy  expression  upon  the  face,  and  the 
drapery  waving  softly.  Night  is  a  solemn  figure,  draped 
in  a  garment  which  is  half  drawn  over  the  head,  and 
holding  poppies  in  the  hand,  a  bat  hovering  near.  These 
reliefs  have  been  executed  in  marble,  and  are  in  the  pos- 
session of  Herr  von  Wohrmau,  of  Dresden. 

The  design  for  the  Luther  monument  at  Worms  must 
be  considered  his  greatest  achievement,  and  perhaps  the 
greatest  of  modern  art.  The  model  for  the  statue  of 
Luther  was  his  last  work.  The  execution  of  this  monu- 
ment was  a  real  delight  to  the  artist,  although  he  labored 
under  numerous  and  painful  difficulties.  On  receiving 
the  commission,  he  wrote  :  "  No  artist  can  say  of  himself 
that  he  will  succeed  in  giving  satisfaction  to  all ;  but  con- 
sciousness of  the  importance  of  a  work,  and  enthusiastic 
devotion  to  it,  go  far  to  insure  success.  I  pray  God  to 
enlighten  my  mind,  to  guide  my  hand,  and  to  strengthen 
my  health,  that  I  may  execute  this  work  to  His  honor,  to 
be  the  joy  and  edification  of  Protestants,  and  —  may  I  not 
add  ?  —  to  be  esteemed  by  the  Catholics  also.  So  help 
me  God." 

His  broad  conception  of  the  work  is  shown  by  a  pas- 
sage in  his  note-book  at  this  period  :  "  The  monument  is 
not  only  to  be  a  monument  of  the  person  of  Luther,  but 
of  the  Lutheran  Eeformation,  of  which  he  is  the  crown 


i8(H]  ERNST   RIETSCHEL.  279 

and  centre.  It  is  not,  therefore,  a  part  of  his  life,  not 
merely  an  episode  in  it,  which  must  find  expression. 
The  monument  is  to  be  to  Luther  and  the  Eeformation 
which  he  effected,  and  is  to  be  at  "Worms  because  it  was 
there  that  he  laid  the  foundation  of  it." 

The  execution  of  this  memorial  occupied  nine  years. 
The  portions  left  incomplete  at  the  death  of  Eietschel 
were  finished  by  his  pupils,  Kietz  and  Donndorf,  of  Dres- 
den, and  it  was  erected  in  18G8.  It  consists  of  a  massive 
platform  of  granite  forty  feet  square,  approached  by  two 
granite  steps.  At  the  four  corners,  upon  pedestals  of  pol- 
ished syenite  eight  feet  high,  are  bronze  statues,  eight 
and  a  half  feet  in  height,  of  Philip  Melanchthon,  Johann 
Eeuchlin,  Frederick  the  Wise,  Elector  of  Saxony,  and 
Philip,  Landgrave  of  Hesse,  promoters  and  protectors  of 
the  Reformation.  At  the  right  in  the  foreground  is  Philip 
of  Hesse,  in  the  costume  of  the  princes  of  his  time,  —  a 
manly  figure,  with  uplifted  face,  leaning  on  his  sword. 
At  the  left  is  Frederick,  in  the  costume  of  the  Electors,  — 
a  stately,  heroic  figure,  w'ith  the  imperial  sword  in  his 
hand  with  which  he  defended  the  new  faith,  and  the  re- 
jected crown  at  his  feet.  At  the  farther  corner,  on  the 
right,  is  Melanchthon,  in  a  doctor's  gown,  holding  in  his 
left  hand  a  liible,  and  gesticulating  witli  the  right.  At 
the  left  in  the  background  is  Eeuchlin,  a  figure  also  in  a 
scholar's  robe,  elegant  in  bearing,  and  with  a  refined,  in- 
telligent face,  a  roll  in  his  hands,  which  he  is  unfolding. 

The  front  side  of  the  square  is  open  ;  the  other  three 
are  enclosed  by  a  battlemented  wall,  emblematical  of  the 
"sure  defence."  In  the  centre  of  these  are  symbolical 
female  figures  representing  the  cities  intimately  connected 
with  the  Reformation  :  Magdeburg,  a  bowed  figure  with 
a  h»roken  sword,  indicating  devastation  and  sorrow ;  Spiers, 


280  SCULPTORS  OF  THE  RENAISSANCE.  [1801. 

the  city  of  the  Protest,  a  spirited  figure,  with  arm  raised 
expressively ;  and  Augsburg,  city  of  the  Confession,  a  fig- 
ure of  cahn  serenity,  holding  the  palm  of  peace  and  vic- 
tory in  her  hand.  Between  these  figures,  inside  the 
battlements,  are  the  arms  of  the  twenty-four  cities  that 
embraced  and  suffered  for  tlie  Heformed  faith. 

From  the  centre  of  this  square  rises  the  principal  part 
of  the  monument.  Upon  the  projecting  corners  of  the 
elaborate  pedestal  are  figures  of  the  precursors  of  the  Eef- 
ormation ;  —  Huss,  a  contemplative  figure  with  a  refined 
and  fervent  expression,  holds  in  his  hands  a  crucifix  upon 
which  he  is  gazing ;  Wycliffe,  in  scholar's  attire,  absorbed 
in  a  book  which  he  holds  upon  his  knees  ;  next  is  Peter 
"VValdus,  founder  of  the  Waldensians,  represented  in  the 
garb  of  a  pilgrim,  the  ragged  edge  of  his  garment  and  the 
rough  sandals  indicating  the  beggar  monk,  but  his  face 
beaming  as  he  points  to  the  Sermon  on  the  Mount  on  the 
page  of  the  open  Bible  which  he  holds.  Perhaps  the  most 
expressive  of  all  is  the  figure  of  Savonarola.  His  head  is 
covered  with  the  cowl,  from  which  his  thin,  passionate 
face  looks  out ;  one  hand  holds  his  robe  against  his  breast, 
the  other  is  raised  with  an  impassioned  gesture,  the  whole 
attitude  as  if  he  were  about  to  spring  to  his  feet  and  utter 
some  prophetic  appeal.  From  the  centre  of  all  rises  the 
heart  of  the  composition,  —  the  colossal  statue  of  Luther. 
It  is  ten  and  one  half  feet  in  height.  The  Eeformer 
stands  in  a  commanding  attitude,  the  right  foot  slightly 
advanced.  His  head  is  raised,  and  his  face  wears  an  ex- 
pression of  steadfast  faith.  With  his  left  arm  he  is  hold- 
ing the  Bible  against  which  his  clenched  right  hand  is 
firmly  laid.  So  expressive  are  the  look  and  the  attitude 
that  the  very  air  seems  to  echo  the  words  which  he  uttered 
not  far  from  this  spot :  "  Here  I  stand ;  I  cannot  do  oth- 


1801]  ERNST  RIETSCEEL.  281 

erwise,  God  help  me."  Upon  the  front  of  the  pedestal  are 
carved  these  memorable  words ;  upon  the  other  sides  are 
also  remarkable  utterances  of  Luther,  and  below  are  bas- 
reliefs  representing  the  princi[)al  scenes  in  his  life.  In 
one  of  tliese  reliefs  liis  pupils  have  introduced  the  portrait 
of  Eietschel. 

The  health  of  the  sculptor  failed  before  the  task  was 
finished,  though  it  was  completed  in  all  essential  parts. 
A  few  days  before  his  death,  —  in  February,  1861,  —  be- 
iuir  unable  to  leave  his  room,  he  had  the  model  of  Luther 
moved  into  his  garden,  where  he  could  look  at  it  from  tlie 
window.  He  made  a  suggestion  or  two,  but,  on  the  wliole, 
appeared  to  be  satisfied  with  it.  With  the  completion  of 
this  grand  figure  the  master's  work  was  finished  :  when 
tlie  day  came  which  had  been  fixed  for  its  public  exhibi- 
tion, he  lay  at  rest  in  his  studio,  with  a  wreath  of  laurel 
around  his  head. 

Eietscliel  was  of  a  simple  and  noble  nature,  with  a  sin- 
cere reverence  for  everything  that  is  good.  He  was  pos- 
sessed of  a  deep  religious  feeling,  and  his  group  of  the 
Madonna  witli  the  dead  Christ  is  among  the  masterpieces 
of  modern  religious  art.  He  was  a  Protestant  in  faith, 
but  this  group  was  modelled  from  a  love  of  the  subject. 
He  was  afterwards  commissioned  to  execute  it  in  marble 
by  the  king  of  Prussia,  and  it  is  in  the  Friedenskirche  at 
Potsdam. 

In  the  Grosse-Garten  at  Dresden  is  the  Piietschel  Mu- 
seum, containing  a  large  collection  of  ca.sts  and  models  of 
the  sculptor's  works. 


282  SCULPTORS  OF  THE  RENAISSANCE.  [1805. 


FRIEDRICH    DRAKE. 

FEIEDKICH  DEAKE,  a  distinguislied  German  sculp- 
tor, was  born  at  Pyrmont,  in  1805.  He  was  a 
pupil  of  Kauch  at  Berlin,  and  became  one  of  the  most 
able  and  productive  of  the  pupils  and  followers  of  that 
master.  One  of  his  early  works  is  a  Madonna  and  Child, 
which  was  purchased  by  the  Empress  of  Eussia.  Like 
other  modern  German  sculptors  he  excelled  in  portrait- 
ure, producing  statues  and  busts  of  eminent  personages, 
to  the  great  increase  of  his  reputation.  In  allegory  he 
was  also  very  successful.  About  1844  he  executed  an 
allegorical  group  of  figures,  representing  the  eight  prov- 
inces of  Prussia,  an  admired  work,  which  adorns  the 
"White  Hall  of  the  Berlin  imperial  palace. 

In  the  Thiergarten  at  Berlin  is  a  statue  of  Frederick 
"William  III.  by  Drake,  the  pedestal  of  which  is  adorned 
with  admirable  high-reliefs,  representing  man  in  a  state  of 
nature,  thus  harmonizing  the  work  with  the  objects  among 
which  it  is  placed.  For  the  Castle  Park  at  Putbus  he 
executed  a  statue  of  Prince  von  Putbus,  a  work  of  similar 
character,  representing  the  culture  of  art  and  science  by 
ideal  scenes  in  relief  upon  the  pedestal.  He  delighted  in 
thus  relieving  the  formality  of  natural  representation  by 
combining  with  it  in  an  harmonious  manner  touches  of 
poetry  and  allegory.  Dr.  Liibke  says :  "  Drake  brings 
into  these  creations  of  an  ideal  kind  a  touch  of  genuine 
German  feeling,  like  that  which  speaks  to  us  in  "Weber's 
melodies." 

For  one  of  the  portals  of  the  railway  bridge  at  Cologne 
Drake  executed  an  equestrian  statue  of  King  "William  of 
Prussia ;  it  is  a  fine  work,  though  unfavorably  situated. 


1805.]  FRIEDRICH  DRAKE.  283 

One  of  his  noblest  works  is  the  statue  of  his  master, 
Christian  Daniel  Ranch,  which  stands  in  the  vestibule  of 
the  ^luseum  at  Berlin.  An  admirably  characteristic  statue 
of  Schinkel  was  executed  by  Drake  for  the  square  in  front 
of  the  Bau-Academie,  which  was  established  in  Berlin 
under  the  direction  of  this  master  of  architecture.  It  is 
a  noble  figure,  witli  the  animated,  interested  look  of  life ; 
upon  the  pedestal  four  Caryatidtie  represent  different  arts. 
One  of  his  late  works  is  the  monument  of  the  Duchess 
Pauline  of  Xassau,  in  the  cemetery  at  Weisbaden.  At 
Aix-la-Chapelle,  in  front  of  the  Rhenish  station,  is  a  War- 
riors' Monument,  erected  in  1872  to  the  memory  of  the 
natives  of  the  town  and  vicinity  who  fell  in  the  campaigns 
of  18G6  and  1870-71.  The  figure  of  a  dying  warrior  to 
whom  an  angel  is  presenting  the  palm  of  victory  was  de- 
signed by  Drake.  The  statue  of  Victory,  which  crowns  the 
Monument  of  Victory  lately  erected  in  the  Konigs-Platz 
in  Berlin  to  commemorate  the  achievements  of  the  late 
war,  is  by  this  sculptor,  —  a  figure  of  airy  lightness. 


HIRAM    POWERS. 

HIRAM  POWERS,  one  of  the  most  distinguished 
American  sculptors,  was  born  in  Woodstock,  Ver- 
mont, in  1805.  He  belonged  to  a  family  whose  wealth 
consisted  in  honesty,  affection  for  each  other,  and  habits 
of  industry  and  frugality.  His  early  advantages  of  edu- 
cation were  limited,  but  the  deficiency  was  in  part  atoned 
for  by  the  expansion  of  soul  gained  from  an  intimate 
communion  with  nature,  and  ])y  a  sturdy  frame  developed 
by  tlie  wholesome  discipline  of  toil  and  endurance.     He 


284  SCULPTORS  OF  THE  RENAISSANCE.  [i805. 

always  appreciated  the  blessings  which  surrounded  him 
in  his  early  life,  in  spite  of  the  privations  which  he  en- 
dured; and  his  love  for  his  home  and  country  never 
diminished,  though  he  became  a  voluntary  exile. 

The  family  removed,  while  Powers  was  still  a  youth, 
to  Western  New  York,  and  thence  to  Ohio.  There  he 
engaged  in  various  employments  by  which  lie  could 
obtain  an  honest  livelihood,  but  which  were  more  or 
less  uncongenial.  Eventually,  however,  he  obtained  em- 
ployment with  the  proprietor  of  a  museiim,  where  his 
mechanical  ingenuity  and  imitative  skill  found  appropri- 
ate exercise  in  the  production  of  waxen  effigies.  He 
afterwards  learned  modelling  in  plaster  from  a  German, 
and  commenced  in  earnest  his  career  as  a  sculptor  by  the 
execution  of  portrait  busts. 

In  1837  Powers  went  to  Italy,  and  took  up  his  perma- 
nent abode  in  Florence.  Among  the  productions  of  this 
period  are  various  excellent  portrait  busts.  In  reference 
to  his  work  in  this  department  Edward  Everett  said :  "  If, 
urged  by  native  inclination,  he  had  succeeded  in  imitating 
nature  servilely,  though  with  exactness,  it  would  not  have 
been  matter  of  great  astonishment.  But  at  the  very  first 
glance,  Mr.  Powers  rose  to  the  just  conception  of  a  kind 
of  representation  which  should  contain,  in  union  with  all 
the  characteristic  parts,  the  natural  and  expressive  spirit 
of  each  individual.  He  has  dedicated  himself  to  the 
preservation  of  the  whole  character,  while  at  the  same 
time  he  imitates  the  porosities  and  habitual  wrinkles  of  the 
skin ;  so  that  he  might  be  called  the  Denner  of  Sculpture. 
He  spares  no  pains  to  make  every  head  preserve,  in  even 
the  smallest  part,  that  harmonious  type,  —  composed  at 
once  of  unity  and  variety,  —  which  belongs  to  itself;  —  a 
special  quality  of  nature,  which  escapes  the  eye  of  many." 


1805.]  HIRAM  POWERS.  285 

The  Greek  Slave  was  one  of  the  first  ideal  productions 
of  the  artist,  and  it  brought  him  immediate  fame.  It  is  a 
beautiful  embodiment  of  young  and  tender  womanhood 
in  a  position  of  deepest  humiliation,  yet  sustained  by  con- 
scious purity  and  faith.  In  his  own  description  of  it  the 
sculptor  says :  "  The  Slave  lia.s  been  taken  from  one  of 
the  Greek  islands  by  the  Turks,  in  the  time  of  the  Greek 
revolution,  the  history  of  which  is  familiar  to  all.  Her 
father  and  mother,  and  perhaps  all  her  kindred,  have  been 
destroyed  by  her  foes,  and  she  alone  preserved  as  a  treas- 
ure too  valuable  to  be  thrown  away.  She  is  now  among 
barbarian  strangers,  under  the  pressure  of  a  full  recollec- 
tion of  the  calamitous  events  which  have  brought  her  to 
her  present  state ;  she  stands  exposed  to  the  gaze  of 
the  people  she  abhors,  and  awaits  her  fate  with  intense 
anxiety,  tempered  indeed  by  the  support  of  her  reliance 
upon  the  goodness  of  God.  Gather  all  the  afflictions  to- 
gether, and  add  to  them  the  fortitude  and  resignation  of 
a  Christian,  and  no  room  will  be  left  for  shame.  Such 
are  the  circumstances  under  which  the  Greek  Slave  is 
supposed  to  stand."  This  work  was  reproduced  five  or 
six  times.  One  of  the  originals  is  in  the  Corcoran  Gallery 
at  Washington,  wliere  it  is  seen  to  great  advantage.  If 
the  statue  does  not  merit  the  extravagant  praise  at  first 
bestowed  upon  it,  it  still  less  merits  the  sweeping  sentence 
which  later  criticism  has  passed  upon  it.  It  is  pervaded 
by  a  pure  and  tender  sentiment,  and  can  never  be  con- 
signed to  the  rank  of  empty  and  superficial  art.  His 
statue  of  Eve,  another  early  work  (in  the  collection  of 
the  late  A.  T.  Stewart,  of  New  York),  is  a  beautiful  figure, 
liolding  the  forbidden  fruit  in  her  hand,  looking  hesitat- 
ingly at  it,  wliile  behind  her,  at  the  base  of  a  tree-trunk, 
the  lifted  liead  of  the  serpent  waits  and  watches.     Tliis 


286  SCULPTORS  OF  THE  RENAISSANCE.  [1805. 

is  Eve  Tempted.  His  Eve  Eepentant  stands  with  one 
hand  pressed  on  her  bosom,  her  face  raised  remorsefully 
to  heaven. 

The  Ginevra,  from  Eogers's  Italy,  is  also  a  work  of  his 
earlier  time,  and  has  been  duplicated.  The  Proserpine  is 
a  production  of  his  mature  time,  and  is  greatly  and  justly 
praised.  Its  popularity  led  to  many  reproductions.  Both 
the  last-named  works  are  to  be  seen  in  the  Corcoran 
Gallery,  and  repetitions  of  them  adorn  many  private  col- 
lections. 

A  full-length  statue  of  California  is  among  the  alle- 
gorical works  of  this  artist.  It  has  reference  to  the  land 
of  gold,  and  evidently  aims  to  portray  both  the  fascination 
and  the  deceitfulness  of  riches.  It  is  a  beautiful  figure, 
with  a  repulsive  expression  of  face,  holding  a  divining-rod 
in  one  hand  while  a  thorn  is  concealed  in  the  other.  It  is 
in  the  Metropolitan  Museum  of  Art  in  New  York. 

La  Penserosa  is  another  full-length  figure,  an  ideal  cre- 
ation of  much  grace  and  majesty,  now  in  the  Lenox  Li- 
brary in  New  York.  "  The  attitude  is  striking,  original, 
and  graceful;  with  one  step  forward,  and  in  the  act  of 
taking  the  next,  her  train  sweeps  behind,  but  is  partially 
gathered  up  in  her  hand ;  one  finger  on  her  lip,  her  eyes 
raised,  and  full  of  thought  and  feeling ;  a  kind  of  bodice 
fits  closely  over  a  chemisette  of  such  exquisite  delicacy  of 
finish  that  the  minutest  examination  only  brings  out  new 
beauties.  If  she  would  go  up  as  we  gaze,  it  would  hardly 
create  surprise,  there  is  such  a  transcendent  majesty  and 
aerial  lightness."  * 

One  of  Powers's  latest  productions  is  the  bronze  statue  of 
"Webster  in  the  State  House  grounds  at  Boston.  Nathaniel 
Hawthorne,  who  first  viewed  this  statue  in  company  with 

*  H.  T.  Tuckerman. 


1806.]  HIRAM  POWERS.  287 

the  sculptor  at  the  foundry  in  Florence  where  it  was 
cast,  wrote  of  it :  "  The  likeness  seemed  to  me  perfect, 
and,  like  a  sensible  man.  Powers  has  dressed  him  in  his 
natural  costume,  such  as  I  have  seen  "Webster  have  on 
while  making  a  speech  in  the  open  air  at  a  mass  meet- 
ing in  Concord, —  dress-coat  buttoned  pretty  closely  across 
the  breast,  pantaloons  and  boots,  —  everything  finished 
even  to  a  seam  and  a  stitch.  Not  an  inch  of  the  statue 
but  is  Webster ;  even  his  coat-tails  are  imbued  with  the 
man,  and  this  true  artist  has  succeeded  in  showing  him 

through   the   broadcloth   as   nature    showed   him 

Webster  is  represented  as  holding  in  his  right  hand  the 
written  roll  of  the  Constitution,  with  which  he  points  to  a 
bundle  of  fasces,  which  he  keeps  from  falling  by  the  grasp 
of  his  left,  thus  symbolizing  him  as  the  preserver  of  the 
Union.  There  is  an  expression  of  quiet,  solid,  massive 
strength  in  the  whole  figure;  a  deep  pervading  energy, 
in  which  any  exaggeration  of  gesture  would  lessen  and 
lower  the  effect.  The  face  is  very  grand,  very  Webster ; 
stern  and  awful,  because  he  is  in  the  act  of  meeting  a 
great  crisis,  and  yet  -with  the  warmth  of  a  great  heart 
glowing  through  it.  Happy  is  Webster  to  have  been  so 
truly  and  adequately  sculptured ;  happy  the  sculptor  in 
such  a  subject,  which  no  idealization  of  a  demigod  could 
have  supplied  him  with." 

Powers's  statue  of  Jefferson,  a  very  superior  work 
(1863)  is  in  the  Capitol  at  Washington.  His  bust  of 
Chief  Justice  Marshall  is  in  the  United  States  Supreme 
Court  Pioom  ;  that  of  John  Quincy  Adams  is  in  the  Penn- 
sylvania Academy  of  Fine  Arts. 

Powers's  ideal  works  are  remarkable  for  purity  of  senti- 
ment, and  for  the  suggestion  of  what  is  most  tender  and 
beautiful  in  humanity.     He  portrays  no  exaggerated  emo- 


288  SCULPTORS  OF  THE  RENAISSANCE.  [1805. 

tions,  but  his  creations  are  pervaded  by  an  atmosphere  of 
peculiar  tranquillity.  He  was  a  nice  observer  of  nature, 
and  all  his  subjects  are  wrought  with  a  conscientious 
fidelity  in  detail,  and  with  surpassing  delicacy  of  finish. 
He  was  utterly  opposed,  in  theory  and  in  practice,  to  the 
hasty  and  sensational  work  demanded  of  modern  artists ; 
he  said,  "  If  I  prefer  to  linger  behind,  and  take  pains 
with  the  little  I  do,  there  are  some  now,  and  there  will  be 
more  hereafter,  to  approve  it."  The  greater  part  of  his 
life  was  spent  in  Italy  ;  his  attachment  to  home  and 
country  was  strong,  but,  always  self-reliant,  and  obedient 
to  what  he  believed  to  be  right  and  best,  he  accepted  his 
lifelong  exile,  happy  in  his  family,  his  work,  and  the  occa- 
sional visits  of  his  countrymen.  He  died  in  Florence  in 
1873. 


HORATIO    GREENOUGH. 

HORATIO  GREENOUGH,  a  distinguished  American 
sculptor,  was  born  in  Boston  in  1805.  From  early 
childhood  he  manifested  the  sense  of  form  and  the  desire 
for  imitating  it  which  in  later  years  led  him  to  choose  the 
profession  of  sculpture.  When  a  boy  he  delighted  in  carv- 
ing and  moulding  toys  and  faces,  and  often  amused  his 
companions  with  the  ingenious  products  of  pencil,  knife, 
or  scissors.  One  of  these  childish  productions  has  been 
preserved,  —  a  head,  evident^  from  an  old  Roman  coin, 
carved  in  a  piece  of  plaster  with  a  knife  and  a  common  nail. 
As  he  grew  older  lie  learned  the  use  of  various  tools  from 
mechanics  and  artists,  to  whom  his  pleasant  manners  and 
manifest  genius  recommended  him.     He  was  educated  at 


1805]  HORATIO  GREENOUGH.  289 

Harvard  Uui^•ersity,  where  be  excelled  in  classical  studies, 
and  was  remarkable  for  bis  commaud  of  language  and  for 
bis  retentive  memory.  His  college  course  was,  bowever, 
subordinated  to  tbe  practice  of  bis  art,  wbicb  be  still 
found  opportunities  for  indulging,  tbougb  be  acquitted 
bimself  witb  credit  in  all  braucbes  except  mathematics, 
for  wbicb  be  bad  an  instinctive  disbke.  Wbile  at  Cam- 
bridge be  formed  tbe  acquaintance  of  Washington  AU- 
ston,  who,  no  doubt,  did  much  towards  developing  and 
directing  bis  talents.  In  later  years  he  wrote  :  "  ^Ulston 
was  to  me  a  father  in  what  concerned  my  progress  of 
every  kind.  He  taught  me  first  how  to  discriminate,  how 
to  think,  how  to  feel." 

In  1825,  towards  the  close  of  his  senior  year  in  college, 
Greenougb  went  abroad,  and,  as  the  pioneer  of  American 
sculpture,  took  up  bis  abode  in  Rome.  There  he  devoted 
himself  assiduously  to  the  study  and  practice  of  sculpture  ; 
but  bis  health  soon  became  impaired,  and  be  returned  to 
his  native  land  for  a  time.  In  1827  he  again  went  abroad, 
and  took  up  bis  residence  permanently  in  Florence. 

Greenougb's  first  group  in  marble,  and  the  first  which 
was  executed  by  an  American  sculptor,  was  the  Chanting 
Cherubs,  ordered  by  J.  Fenimore  Cooper.  He  produced 
other  works  of  a  similar  character,  which  won  much 
admiration  and  increased  his  permanent  fame.  He  also 
executed  various  portrait  busts. 

In  1832,  Greenougb  received  a  commission  for  a  colos- 
sal statue  of  Washington  for  the  Rotunda  of  the  national 
Capitol.  This  work  was  executed  in  Florence,  and  occu- 
pied the  sculptor  for  about  eight  years.  It  is  a  grand  and 
noble  work,  though  not  a  fortunate  conception,  perhaps, 
for  the  place  it  was  intended  to  occupy,  —  the  centre  of  the 
Rotunda,  —  and  it  is  still  less  suited  to  its  present  exposed 

ij 


290  SCULPTORS  OP  THE  RENAISSANCE.  [isoR 

position  in  the  park.  It  is  of  beautiful  Carrara  marble,  a 
colossal  seated  figure,  the  right  arm  and  lower  part  of  the 
body  only  covered  with  drapery.  The  right  hand  is  raised, 
the  forefinger  pointing  upward ;  the  left  hand  advanced, 
holding  a  Roman  short  sword,  reversed.  The  chair  is 
massive,  of  antique  form,  and  ornamented  with  acanthus 
leaves,  flowers,  and  finely  wrought  subjects  in  bas-relief; 
against  the  left  arm  of  the  chair  rests  a  small  figure  of 
Columbus  holding  a  globe  in  his  hand,  and  at  the  right 
is  a  small  statue  of  an  Indian.  The  pedestal,  twelve  feet 
in  height,  is  of  New  England  granite,  and  bears  upon 
the  front  and  sides  the  inscription  :  "  First  in  war :  First 
in  peace :  First  in  the  hearts  of  his  countrymen." 

The  statue  has  been  the  subject  of  much  unjust  as  well 
as  ignorant  criticism,  but  it  has  also  had  appreciative  ad- 
mirers, and  the  number  will  increase  as  true  art  becomes 
better  understood  among  our  countrymen,  and  a  higher 
culture  reveals  the  spirit  and  significance  of  the  work.  Its 
excellence  consists,  not  in  its  accuracy  as  a  portrait  of 
Washington,  or  in  its  portrayal  of  any  isolated  moment  in 
his  career ;  it  is  rather  an  embodiment  of  the  enduring 
qualities  of  character  which  distinguished  him.  The  sculp- 
tor himself  said  of  it :  "  It  is  the  birth  of  my  thought.  I 
have  sacrificed  to  it  the  flower  of  my  days  and  the  fresh- 
ness of  my  strength ;  its  every  lineament  has  been  moist- 
ened by  the  sweat  of  my  toil,  and  the  tears  of  my  exile. 
I  would  not  barter  away  its  association  with  my  name  for 
the  proudest  fortune  that  avarice  ever  dreamed.  In  giv- 
ing it  up  to  the  nation  that  has  done  me  the  honor  to 
order  it  at  my  hand,  I  respectfully  claim  for  it  that  pro- 
tection which  it  is  the  boast  of  civilization  to  afford  to  Art, 
and  which  a  generous  enemy  has  more  than  once  been 
seen  to  extend  even  to  the  monuments  of  its  own  defeat." 


1806.]  HORATIO  GREENOUGH.  291 

The  statue  was  placed  in  the  centre  of  the  Eotunda,  a 
pier  of  masonry  having  been  erected  beneath  the  pave- 
ment to  sustain  the  vast  weight.  It,  however,  appeared 
so  out  of  proportion,  that  it  was  in  the  following  year  re- 
moved to  the  park  east  of  the  Capitol.  On  learning  that 
the  statue  was  to  be  removed  from  its  place  under  the 
dome  of  the  Capitol,  the  sculptor  wrote :  "  Had  I  been 
ordered  to  make  a  statue  for  any  square  or  simular  situa- 
tion at  the  metropolis,  I  should  have  represented  Wash- 
ington on  horseback,  and  in  liis  actual  dress.  I  would 
have  made  my  work  purely  an  historical  one.  I  have 
treated  the  subject  poetically,  and  confess  I  should  feel 
pain  at  seeing  it  placed  in  direct  and  flagrant  contrast  with 
every-day  life.  IMoreover,  I  modelled  the  figure  without 
reference  to  an  exposure  to  rain  and  frost,  so  that  there 
are  many  parts  of  the  statue  where  the  water  would  col- 
lect and  soon  disintegrate  and  rot  the  stone,  if  it  did  not, 
by  freezing,  split  off  large  fragments  of  the  drapery." 

Another  of  Greenough's  principal  works  is  his  group  of 
the  Eescue,  which  stands  at  the  right  of  the  eastern  en- 
trance to  the  Capitol.  The  principal  figure  represents  an 
American  settler  rescuing  a  woman  and  child  from  a  mur- 
derous savage,  typical  of  the  struggle  of  the  Anglo-Saxon 
with  the  aboriginal  races.  This  was  his  last  ideal  work, 
also  executed  in  Florence,  designed  in  1837,  finished  iu 
18.'31.  In  that  year  the  artist  returned  to  America,  desir- 
ing to  take  up  his  final  abode  in  the  beloved  Lmd  of  his 
birth  ;  but,  keenly  sensitive  both  in  body  and  mind,  he 
missed  the  genial  climate  he  had  left,  and  perhaps  still 
more  the  serene  and  undisturbed  artist  life  he  had  led  in 
Italy.  He  took  part  for  a  time  in  the  stirring  and  fitful 
life  around  him,  while,  in  addition  to  his  cares  and  labors, 
he   was   subjected  to    many  vexations   and   discomforts. 


292  SCULPTORS  OF  THE  RENAISSANCE.  [i805. 

However,  during  the  last  year  of  his  life  he  enjoyed  inter- 
vals of  almost  unalloyed  tranquillity,  with  his  family  and 
friends  around  him.  He  was  in  the  prime  of  his  man- 
hood, but  he  seems  to  have  had  a  premonition  that  the 
end  was  not  far  off,  for  he  wrote  :  "I  begin  to  love  to  sit 
alone,  —  to  look  upon  the  skies,  the  water,  and  the  soft 
green,  —  the  face  of  the  mighty  mother !  I  feel  that  she 
sweetly  smiles  on  me,  —  more  sweetly  than  formerly,  — 
because  she  means  to  call  me  home  to  her  own  bosom." 
He  died  from  disease  of  the  brain,  in  December,  1852. 


JOEL    T.    HART. 

JOEL  T.  HAET,  an  American  sculptor  of  considera- 
ble celebrity,  was  born  in  Clark  County  in  Kentucky, 
in  1810.  His  early  opportunities  for  education  were  very 
limited,  and  while  still  a  boy  he  was  compelled  to  earn  a 
subsistence  by  rough  mason-work.  In  1830,  he  found 
employment  with  a  stone-cutter  in  Lexington,  and  soon 
after  commenced  modelling  in  clay,  producing  some  re- 
markable portraits.  In  sculpture  he  appears  to  have  found 
his  true  vocation,  and  during  the  following  years  he  re- 
ceived a  fair  share  of  patronage  and  fame. 

About  1846,  Hart  received  a  commission  for  a  statue  of 
Henry  Clay  for  the  city  of  Louisville  in  his  native  State. 
He  immediately  commenced  his  studies  for  the  work  from 
life,  and  was  occupied  for  three  years  upon  the  model. 
He  went  to  Florence  to  execute  it  in  marble,  but  owing 
to  unfortunate  delays  it  was  not  completed  for  many  years. 
It  was  at  length  finished,  and  was  inaugurated  in  Louis- 
ville in  1867.     A  duplicate  of  it  was  executed  for  the  city 


1810]  JOEL  T.  HART.  293 

of  Xew  Orleans,  which  stands  upon  a  lofty  pedestal  in  a 
central  part  of  the  city,  and  is  a  characteristic  and  effect- 
ive work. 

The  sculptor  produced  a  great  number  of  portrait  busts, 
some  of  which  are  regarded  as  of  remarkable  truth,  be- 
sides various  ideal  subjects,  which  have  been  much  ad- 
mired. Some  of  his  more  simple  poetical  subjects  are 
treated  in  a  very  attractive  manner.  A  number  of  his 
productions  have  been  purchased  by  Englishmen.  He 
possessed  considerable  mechanical  skill  and  invention, 
which  have  been  of  practical  value  in  facilitating  the  me- 
chanical labors  of  sculpture.  As  a  man.  Hart  was  kindly, 
generous,  and  patriotic.  The  last  years  of  his  life  were 
passed  in  Florence,  where  he  died  in  1877. 


THOMAS    G.    CRAWFORD. 

THOMAS  G.  CRAWFORD,  eminent  among  Ameri- 
can sculptors,  was  born  in  Xew  York  in  1813.  His 
birth  and  early  education  were  not  such  as,  in  themselves, 
would  entitle  him  to  other  than  an  average  position  among 
his  countrymen ;  but  he  seems  to  have  had  by  nature  an 
artistic  love  for  the  beautiful,  and  a  power  of  will  in  the 
concentration  of  his  energies  towards  the  realization  of  his 
ideal  which  would  insure  a  measure  of  success,  even  in  the 
absence  of  actual  genius.  It  is  said  that  his  early  taste 
for  art  was  encouraged  by  his  father,  and  that  he  was 
placed  with  a  wood-carver  for  instruction,  where  his  talent 
for  sculpture  rapidly  developed.  He  afterwards  attended 
the  Xational  Academy  of  Design,  and  was  also  instructed 
in  the  studio  of  Frazee  and  Launitz,  monumental  sculptors 
of  Xew  York. 


294  SCULPTORS  OF  THE  RENAISSANCE.  [1813. 

In  1835  Crawford  went  to  Eome,  where  he  was  kindly- 
encouraged  and  aided  by  Thorvaldsen.  With  a  single 
devotion  to  the  art  he  loved,  he  counted  no  efforts  too 
great,  no  hardships  too  painful,  in  approaching  his  ideal. 
He  devoted  himself  to  the  study  and  practice  of  sculpture 
with  an  unremitting  application,  and  his  earnestness  and 
industry  were  soon  rewarded  by  a  name  among  the  most 
distinguished  artists  of  Rome,  and  by  various  commissions 
of  importance.  In  1839,  he  modelled  his  Orpheus,  which 
was  much  praised,  and  he  was  commissioned  by  an  Ameri- 
can to  execute  it  in  marble.  It  is  now  the  property  of 
the  Boston  Athenaeum. 

One  of  Crawford's  finest  statues  is  that  of  Beethoven, 
in  bronze,  executed  for  the  Music  Hall  in  Boston.  It  is 
not  only  a  fine  portrait  of  the  great  composer,  but  seems 
also  a  revelation  of  the  majestic  spirit  which  dwelt  apart, 
in  the  solitude  of  its  own  inspirations.  The  statue  was 
cast  in  Munich,  and  when  it  was  finished  the  music-loving 
Germans  honored  it  with  an  impromptu  festival,  at  which 
some  of  Beethoven's  grandest  music  was  performed. 

His  colossal  equestrian  statue  of  Washington,  in  bronze, 
executed  for  the  State  of  Virginia,  and  placed  on  the  Capi- 
tol Hill  in  Richmond,  is  one  of  his  most  admired  produc- 
tions. The  figure  of  Washington  is  dignified  and  natural ; 
he  is  turning  slightly  to  the  left,  as  if  about  to  give  some 
word  of  command,  his  left  hand  on  the  snaffle  bridle  of 
his  horse,  —  a  noble  animal  of  Arab  blood,  studied  from 
life.  Henry  James,  Sen.  said,  in  reference  to  the  supposed 
intention  of  the  sculptor :  "  I  heard  it  stated  by  gentlemen 
that  the  moment  chosen  for  the  depiction  of  Washing- 
ton was  at  the  battle  of  Monmouth,  or  at  half  a  dozen 
other  battles.  But  it  seemed  to  me  that  such  an  idea  was 
all  a  mistake.     I  cannot,  of  course,  enter  into  the  mind  of 


1813,]  THOilAS  G.  CRAWFORD.  295 

the  great  artist,  now,  alas  !  gone,  and  say  what  was  in  his 
thoughts  ;  but  I  do  not  believe  Crawford  intended  to  rep- 
resent any  particular  moment  or  any  particular  event 
in  Washington's  life.  It  was  only  Washington,  —  Wash- 
ington enbalmed  in  memories,  sucli  as  leave  behind  all 
spices  of  the  Egyptian  tomb,  —  the  love  of  his  countrymen, 
the  gratitude  of  ages,  the  admiration  of  a  world,  —  Wash- 
ington leading  on,  not  so  much  to  victory  and  fame  as  to 
duty  and  liberty."  This  work  was  also  cast  at  Munich,  and 
was,  like  the  Beethoven^  greeted  with  a  burst  of  German 
enthusiasm.  On  its  completion  the  sculptor  went  to  Mu- 
nich to  view  his  work  in  bronze.  Arriving  in  the  evening 
at  the  place  where  it  was  displayed,  Crawford  was  for  a 
moment  surprised  at  the  dusky  precincts ;  but  suddenly 
the  light  of  torches  flashed  upon  the  statue,  while  a  song 
of  triumph  burst  from  a  hundred  voices,  —  a  tribute  to 
American  freedom  and  American  genius.  The  Washing- 
ton was  among  the  last  achievements  of  the  sculptor, 
and  it  reached  the  shores  of  his  native  land  simultane- 
ously with  the  sad  news  of  his  death. 

For  the  pediment  of  one  of  the  wings  of  the  Capitol  at 
Washington  he  executed  a  group  in  high  relief,  symboliz- 
ing the  progress  of  civilization  in  the  United  States.  The 
central  figure  of  the  group  represents  America;  at  the 
right  of  this  figure,  War  and  Commerce,  Youth  and  Educa- 
tion, ^lechanics  and  Agriculture  ;  at  the  left,  the  Pioneer, 
the  Hunter,  and  the  Aboriginal.  A  repetition  of  the  fig- 
ure of  the  Indian  chief  in  this  group  is  in  the  entrance 
hall  of  the  Xew  York  Historical  Society. 

Ili.s  colo.ssal  statue  of  Freedom,  which  surmounts  the 
dome  of  the  Capitol,  is  counted  among  the  least  successful 
of  his  public  works.  The  head-dress,  which  imparts  to  the 
figure  somewhat  the  air  of  a  sava;;e,  was  not  the  first  idea 


296  SCULPTORS  OF  THE  RENAISSANCE.  [1813. 

of  the  sculptor.  He  intended  to  crown  it  with  the  cap  of 
Liberty,  but  was  afterwards  induced  to  substitute  for  this 
"  a  helmet,  the  crest  of  which  is  composed  of  an  eagle's 
head  and  a  bold  arrangement  of  feathers,  suggested  by  the 
costume  of  our  Indian  tribes." 

Crawford  executed  many  statues  and  busts  of  eminent 
American  statesmen ;  that  of  Patrick  Henry  has  been 
much  praised.  His  statue  of  James  Otis  is  in  the  chapel 
at  Mount  Auburn.  It  is  excellent  as  a  likeness,  and 
expresses  also  in  a  remarkable  degree  the  grace  and  no- 
bility of  mind  which  characterized  the  distinguished  man. 
His  Hebe  and  Ganymede  is  in  the  Boston  Museum  of 
Fine  Arts,  and  in  the  same  gallery  his  bust  of  Charles 
Sumner. 

Among  Crawford's  productions  are  numerous  bas-reliefs 
of  Scriptural  and  classical  subjects.  A  large  collection  of 
casts  and  models  of  his  works  came  into  the  possession 
of  the  Commissioners  of  Central  Park  in  New  York  some 
years  since,  and  were  arranged  in  the  former  chapel  of 
the  convent  at  Mount  St.  Vincent.  A  portion  of  them 
were  destroyed  by  fire  in  1881,  and  those  remaining  are 
now  in  the  Arsenal  at  Central  Park.  They  bear  witness 
to  his  fertility  of  invention,  as  well  as  his  industry  and 
skill.  Had  he  worked  more  slowly,  he  might  have 
accomplished  better  tilings  ;  and  had  his  life  been  pro- 
longed, he  would  doubtless  have  achieved  something  more 
satisfying  to  himself  and  to  the  world.  He  was  much 
beloved  and  honored  by  his  countrymen,  and  his  death 
in  1857,  was  deeply  lamented. 

Note.  —  Crawford's  statue  of  The  Peri  at  the  Gates  of  Paradise 
is  one  of  the  treasures  among  the  original  marbles  in  the  Corcoran 
Gallery  of  Art  in  Washington.  This  beautiful  figure  was  suggested 
by  the  poem  in  Lalla  Rookh,  by  Thomas  Moore. 


1806.]  HENRY  DEXTER.  297 


HENRY   DEXTER. 

HENRY  DEXTER,  an  American  sculptor,  was  born 
in  Nelson,  New  York,  in  1806.  He  is  remark- 
able as  being  entirely  self-taught,  never  leaving  his  own 
country  for  study,  and  yet  producing  works  which  prove 
him  a  master  of  his  art.  His  father  died  wlien  Henry 
was  but  a  child,  and  the  family  removed  to  Connecticut, 
where  the  boy  worked  on  a  farm  in  summer  and  attended 
school  in  winter.  He  was  afterwards  apprenticed  to  a 
blacksmith,  and  became  very  skilful  as  a  worker  in 
metals.  But  he  longed  to  be  an  artist,  and  painted  a 
number  of  pictures  with  some  success.  In  1840  he 
turned  his  attention  to  sculpture,  and  seems  then  to 
have  found  his  field  of  labor.  The  first  marble  bust  he 
made  was  that  of  Hon.  Samuel  Eliot,  Mayor  of  Boston. 
He  had  never  handled  a  block  of  marble,  or  seen  a  sculp- 
tor at  work ;  nevertheless  he  produced  so  satisfactory  a 
work  that  Mr.  Eliot,  to  whom  he  left  the  matter  of  com- 
pensation, paid  him  two  hundred  dollars,  and  afterwards 
added  fifty  dollars  more,  to  the  amazement  of  the  sculp- 
tor. In  1860  he  undertook  to  execute  busts  of  the 
President  and  all  the  Governors  in  the  United  States  at 
that  time  in  office,  visiting  nearly  all  the  States  to  make 
his  studies.  In  this  undertaking  he  was  very  successful. 
One  of  the  noblest  of  these  busts  is  that  of  Chief  Justice, 
then  Governor  Chase.  Those  of  Governors  Morrill  and 
Banks  are  notewortliy.  A  bust  of  Professor  Felton  is 
one  of  liis  finest  productions ;  it  is  in  the  library  at 
Harvard  University. 

In  1847  Dexter  took  up  his  residence  in  Cambridge, 
Maas.,  where  lie  labored  assiduously  at  his  art.     When 


298  SCULPTORS  OF  THE  RENAISSANCE.  [1807. 

at  work  upon  some  bust  or  statue  he  would  say,  "  It  is 
my  work,  and  my  whole  soul  is  in  it." 

He  executed  portrait  busts  of  Dickens,  Longfellow, 
Agassiz,  Henry  Wilson,  and  Anson  Burlingame.  His 
statue  of  General  Joseph  Warren  is  at  Bunker  Hill ;  his 
Backwoodsman  is  now  at  Wellesley  College.  The  Biu- 
ney  monument  in  Mount  Auburn,  the  sleeping  figure  of 
the  little  child  who  was  buried  there,  is  well  known,  and 
deserves  mention  not  only  on  account  of  the  sweet  and 
tender  sentiment  it  has  awakened  in  so  many  spectators, 
but  for  the  reason  that  it  was  the  first  marble  statue 
placed  in  that  home  of  the  dead,  and  believed  to  be  the 
first  produced  in  this  country  by  an  American  who  had 
never  left  America, 

Dexter  died  in  Cambridge  in  1876. 


HENRY   WEEKS. 

HENKY  WEEKS,  an  English  sculptor,  was  born  in 
1807.  He  was  for  a  time  Professor  of  Sculpture 
at  the  Eoyal  Academy.  He  has  executed  a  number  of 
statues  and  busts,  among  which  may  be  noticed  his  bust 
of  Eobert  Southey  and  that  of  Zachary  Macaulay,  advo- 
cate for  the  abolition  of  slavery,  in  Westminster  Abbey. 

This  artist  shared  in  the  sculptures  of  the  Albert 
Memorial  in  London.  Of  the  four  minor  groups,  rep- 
resenting Agriculture,  Manufactures,  Commerce,  and 
Engineering,  that  of  Manufactures  is  by  his  hand. 

It  is  said  that  the  first  bust  of  Victoria  as  Queen  was 
made  by  him. 

He  died  in  1877. 


1814]  HENRY   KIRKE  BROWN.  299 


HENRY   KIRKE   BROWN. 

HEXRY  KIllKE  BKOWX,  an  eminent  American 
sculptor,  was  born  in  Leyden,  Mass.,  in  1814.  A 
man  of  strong  character  and  undoubted  talent.  Brown 
is  Avorthily  identified  with  the  whole  growth  of  American 
sculpture. 

With  a  natural  love  for  art,  he  commenced  painting 
at  a  very  early  age,  but  soon  found  that  he  preferred 
sculpture.  Without  resources,  he  worked  as  a  railroad 
engineer  summers,  studying  and  practising  his  art  win- 
ters for  a  time.  He  settled  in  xVlbany,  where  he  received 
many  commissions  for  portrait  busts,  and  also  produced 
some  ideal  works.  In  1842  he  went  to  Italy,  where  he 
remained  four  years.  After  his  return  he  did  some  work 
in  bronze  casting,  the  first  attempted  in  this  country, 
bringing  skilled  assistants  from  Europe.  He  went  among 
the  Indians,  making  some  interesting  models,  which  were 
reproduced  in  bronze. 

In  1857  Brown  was  commissioned  by  the  State  of 
South  Carolina  to  execute  the  decorations  of  the  State 
House  in  Columbia.  A  symbolical  group  for  the  main 
pediment  was  to  consist  of  a  colossal  figure  of  South 
Carolina,  with  Justice  and  Liberty  on  either  side,  and 
the  industries  rei»resented  by  slaves  at  work  in  rice  and 
cotton  fields.  The  principal  figure  was  nearly  finished 
before  the  beginning  of  the  Civil  War.  It  was  never 
completed,  and  was  afterwards  destroyed.  The  sculptor 
made  many  friends  during  his  residence  in  the  South, 
and  wa.s  urged  to  cast  his  lot  with  the  Southern  cause, 
but  he  was  loyal  to  the  Union. 

]*rown  was  fond  of  horses,  and  his  equestrian  statues 


300  SCULPTORS  OF  THE  RENAISSANCE.  [i8i5. 

are  among  his  best  productions.  His  fine  statue  of 
Washington  in  Union  Square,  New  York,  represents  the 
General  on  horseback  in  the  act  of  recalling  his  troops 
to  repose ;  the  head  is  bare,  his  hat  resting  on  his  bridle 
arm,  his  face  slightly  lifted,  and  his  right  hand  extended 
in  quiet  command.  His  equestrian  statue  of  General 
Win  field  Scott,  in  Washington,  is  considered  his  best 
work.  The  General  is  in  full  uniform,  mounted  in  an 
easy  and  dignified  attitude  upon  a  war-horse  at  rest.  In 
his  left  hand  he  holds  the  reins,  and  in  his  right  a  pair 
of  field  glasses.  Both  rider  and  horse  are  full  of  life,  but 
the  air  of  calm  dignity  which  invests  the  work  renders  it 
very  attractive.  It  was  cast  from  cannon  captured  in  the 
Mexican  war.  The  noble  statue  of  General  Nathanael 
Greene,  in  the  National  Statuary  Hall  at  Washington,  is 
his  work.  He  made  many  portrait  busts  of  distinguished 
men,  and  produced  some  works  in  sacred  art. 
He  died  in  1886. 


CLARK  MILLS. 

CLAEK  MILLS  was  born  in  Onondaga  County,  New 
York,  in  1815.  He  was  left  an  orphan  when  very 
young,  and  experienced  many  hardships  during  his  early 
years.  He  seems  to  have  had  a  taste  for  art,  and  learned 
the  stucco  trade,  which  led  him  to  attempts  in  modelling 
the  human  face,  and  making  portrait  busts.  He  executed 
a  number  of  commissions  in  this  department,  and  won 
considerable  reputation. 

In   1848    he   was  asked  to   furnish  a  design   for   an 
equestrian    statue  of   General   Jackson.      This  was  ac- 


1817]  ALFllED  STEVENS.  301 

cepted,  and  the  work  was  completed  in  1853,  and  stands 
in  Lafayette  Square  in  Washington.  It  was  made  from 
cannon  captured  during  the  war  of  1812.  The  sculp^ 
tor  produced  a  replica  of  this  statue  for  the  city  of 
New  Orleans.  He  also  made  an  equestrian  statue  of 
General  Washinstou,  which  stands  in  "WashiuLiton  Circle 
in  "Washington.  It  represents  the  hero  at  the  crisis  of 
the  battle  of  Princeton. 

The  latter  part  of  the  sculptor's  life  was  largely  occu- 
pied in  the  production  of  portrait  busts,  in  which  he  was 
very  successful. 

Mills  was  a  man  of  an  inventive  mind  and  much  ori- 
ginaUty.     He  died  in  AVashingtou  in  1883. 


ALFRED   STEVENS. 

A  LFPiED  STEVENS,  an  English  sculptor,  was  born 
XX  in  Blandford,  Dorset,  in  1817  or  1818.  In  1833 
he  went  to  Italy,  where  he  remained  for  nine  years. 
He  was  for  some  time  an  assistant  of  Thorwaldsen.  In 
England  he  was  teacher  of  architectural  drawing  in  the 
School  of  Design  at  Somerset  House.  He  was  a  man  of 
mucli  talent,  and  was  thoroughly  fitted  by  study  for  the 
practice  of  sculpture  in  all  its  branches.  His  chief  work 
is  tlie  monument  to  the  Duke  of  Wellington  in  St.  Paul's 
cathedral.  It  is  a  very  elaborate  and  imposing  work, 
and  occupied  the  sculptor  for  many  years.  It  is  greatly 
dwarfed  in  effect  by  its  position  in  the  small  chapel 
where  it  is  placed. 

Stevens  died  in  I^jnd(jii  in  1875. 


302  SCULPTORS  OF  THE  RENAISSANCE.  [18I8. 


JOHN   HENRY   FOLEY. 

JOHN  HENEY  FOLEY  was  bom  in  Dublin,  in 
1818.  He  was  a  man  of  great  genius,  and  perhaps 
the  foremost  of  modern  British  sculptors  in  his  partic- 
ular iield.  In  his  very  early  years  his  attention  to  the 
subject  of  art  was  stimulated  by  the  influence  of  his 
step-grandfather,  who  was  a  sculptor  in  Dublin.  He 
commenced  the  study  of  drawing  and  modelling  in  his 
native  city,  and  in  1834  he  went  to  London  and  became 
a  student  at  the  Eoyal  Academy. 

Among  Foley's  earlier  works  are  a  large  number  of 
ideal  subjects,  but  in  his  monumental  bas-reliefs,  in 
his  statues,  his  groups,  and  especially  in  his  equestrian 
statues,  he  has  shown  his  greatest  power. 

For  the  city  of  Dublin  he  executed  a  large  number 
of  portrait  statues  and  monuments.  For  the  Albert 
Memorial,  in  London,  he  was  the  sculptor  of  one  of  the 
corner  groups,  Asia,  and  of  the  statue  of  the  Prince 
Consort,  which  crowns  the  monument.  The  noble  repose 
of  this  figure  well  represents  the  character  of  the  Prince. 
His  statue  of  Lord  Hardinge,  now  in  Calcutta,  is  a  fine 
and  very  celebrated  work.  His  equestrian  statue  of  Sir 
James  Outram,  also  made  for  Calcutta,  is  a  masterly 
work,  perhaps  the  masterpiece  of  his  productions.  It 
was  set  up  temporarily  in  London,  and  its  impressive 
grandeur  was  greatly  appreciated.  It  was  said  of  it, 
"  The  action  of  man  and  horse  is  so  simultaneous  as  to 
suggest  the  sudden  transformation  into  bronze  of  a  group 
in  iife." 

Foley's  career  was  upright  and  honorable.  He  was 
happily  married,  was  devoted  to  his  home  and  his  work, 


1819]  WILLIAM  WETMORE  STORY.  303 

and  was  ever  ready  to  assist  those  less  fortunate  than 
himself. 

He  died  at  Hampstead  in  1874,  and  was   buried  in 
St.  Paul's  cathedral. 


WILLIAM   WETMORE   STORY. 

WILLIAM  WETMOEE  STORY,  a  noted  American 
sculptor,  was  born  in  Salem,  Mass.,  in  1819. 
He  was  the  sou  of  Joseph  Story,  an  eminent  jurist  of  his 
time,  and  graudson  of  Dr.  Elisha  Story,  a  surgeon  of  the 
Eevolutionary  War,  and  one  of  the  "  Boston  Tea-party." 

Story  graduated  at  Harvard  in  1838,  and  studied  in 
the  law  department,  in  which  his  father  was  at  that  time 
Professor.  He  was  tlie  poet  of  his  class,  delivering  a 
poem  upon  "  Xature  and  Art."  He  had  a  strong  love  for 
art,  and  in  1848  went  to  Italy  for  the  study  and  practice 
of  sculpture.  Nearly  the  whole  of  his  after  life  was 
spent  in  Pome,  "  the  dear  old  city,"  whose  damp,  narrow 
streets,  even,  he  confessed  had  a  charm  for  liim. 

He  produced  a  large  number  of  works  in  sculpture, 
and  was  also  a  prolific  writer.  Among  his  earlier  works 
is  the  statue  of  his  father  in  the  chapel  of  Mount 
Auburn,  a  fine  representation  of  the  subject.  It  is  one 
of  the  most  attractive  of  modern  portrait  statues,  and  is 
a  noble  memorial  of  both  father  and  son.  He  modelled 
a  statue  of  George  Peabody,  which  was  cast  in  bronze 
and  erected  in  London.  A  replica  of  this  work  is  in 
Baltimore.  Among  his  pf)rtr:dt  busts  are  those  of  James 
Piussell  Lowell,  Josiah  Quincy,  and  Tlieodore  Parker. 
Of  his  ideal  iuid  .symbolical  works  may  be  mentioned 
Saul,  Delilah,  Judith,  Jerusalem  in  her  Desolation,  and 


304  SCULPTORS  OF  THE  RENAISSANCE.  [1825. 

Thetis  and  Achilles.  One  of  his  later  works  is  the 
Semiramis,  now  in  the  Metropolitan  Museum  of  Art  in 
New  York.  This  Assyrian  queen,  a  stately  figure,  is 
represented  seated  in  an  easy  and  graceful  attitude.  The 
regal  head  and  face  are  indicative  of  great  mental  ac- 
tivity, while  the  body  and  limbs  express  the  utmost 
repose.  The  details  are  very  elaborate,  and  are  carefully 
finished  in  the  manner  of  Assyrian  art.  His  Cleopatra 
is  in  the  same  collection. 

Of  great  refinement  and  extensive  culture,  and  one  of 
the  foremost  of  American  sculptors.  Story  was  one  whose 
memory  his  countrymen  are  proud  to  honor.  He  died  in 
the  liome  of  his  daughter,  at  Vallombrosa,  in  October 
1895. 


WILLIAM   HENRY   RINEHART. 

WILLIAM  HENRY  RINEHART,  an  American 
sculptor,  was  born  in  Maryland  in  1825.  In 
his  youth  he  attended  school  and  worked  on  his  father's 
farm.  When  about  eighteen  years  of  age  he  began  work 
with  a  stone-cutter,  and  not  long  after  secured  a  position 
in  a  marble-yard  in  Baltimore,  devoting  himself  to 
drawing  and  other  studies  in  his  leisure  hours.  He 
advanced  rapidly,  and,  resolving  to  devote  himself  to 
sculpture,  he  went  to  Italy  in  1855  for  further  study, 
remaining  for  two  years.  On  his  return  he  opened  a 
studio  in  Baltimore,  where  he  produced  various  works  of 
a  poetic  character.  In  1858  he  took  up  his  residence 
permanently  in  Rome.  He  executed  many  portrait  busts, 
and  in  1872  his  statue  of  Chief  Justice  Taney  was  set  up 


1825.]  RANDOLPH  ROGERS.  305 

iu  Anuapolis.  After  the  death  of  Crawford,  Einehart 
completed  the  reliefs  for  the  United  States  Capitol  which 
Crawford  had  left  unfinished. 

The  Clytie  was  considered  by  this  sculptor  as  his 
masterpiece.  It  is  in  the  Peabody  Institute  in  Balti- 
more. His  Endymion,  his  Sleeping  Children,  and  his 
Eebecca  are  in  the  Corcoran  Gallery  of  Art  iu  Wash- 
injjton.     Einehart  died  iu  Eome  in  1874. 


RANDOLPH   ROGERS. 

I)AXDOLrii  EOGERS,  an  American  sculptor,  was 
\  born  iu  Waterloo,  New  York,  in  1825.  In  early 
manhood  he  was  engaged  in  mercantile  pursuits,  but 
having  a  preference  for  sculpture  he  went  to  Italy  to 
study.  In  1850  he  returned  to  America,  and  opened  a 
studio  in  New  York,  where  he  was  occupied  with  various 
important  commissions.  One  of  these  was  the  large 
bronze  door  for  the  Capitol  at  Washington.  The  panels 
repre-sent,  in  high  relief,  leading  events  in  the  life  of 
Columbus.  The  borders  of  the  panels  contain  statuettes 
iu  niches,  witli  decorations  of  ancient  armor,  heraldic 
designs,  etc.  Between  the  panels  are  portrait  heads  of 
hi.storians  of  Columbus  and  liis  voyages. 

In  1S61  Eogers  completed  the  Washington  monument 
at  Eichmond  which  was  left  uncompleted  by  Crawford. 

Among  his  ideal  works  are  Euth,  and  Nydia  the  Blind 
Girl  of  Pompeii.  He  produced  several  portrait  statues 
and  busts  of  excellence.  His  Genius  of  Connecticut,  a 
colossal  figure,  was  executed  in  1877,  for  the  Capitol  at 
Hartford.     He  designed  soldiers'  memorials  for  tlie  cities 


306  SCULPTORS  OE  THE  RENAISSANCE.  [i844. 

of  Cincinnati,  Detroit,  Providence,  and  Worcester.  His 
Angel  of  the  Eesurrection,  upon  the  monument  of 
Colonel  Colt  at  Hartford,  is  an  admired  work.  He  died 
in  1892. 


MARTIN   MILMORE. 

MAETIN  MILMOEE  was  born  in  Sligo,  Ireland, 
in  1844.  He  came  to  this  country  when  quite 
young,  and  was  educated  in  the  schools  of  Boston.  In 
early  life  he  studied  wood-carving  with  his  brother 
Joseph,  and  later  he  entered  the  studio  of  Thomas  Ball. 
Some  years  later  he  went  to  Eome  and  studied  for  some 
time. 

Many  portrait  busts  were  produced  by  this  artist, 
among  which  may  be  mentioned  that  of  George  Ticknor, 
now  in  the  Public  Library  of  Boston,  those  of  Wendell 
Phillips,  Ealph  Waldo  Emerson,  Theodore  Parker,  and 
others.  His  bust  of  Charles  Sumner  was  presented  to 
George  William  Curtis  by  the  State  of  Massachusetts, 
upon  the  occasion  of  his  eulogy  upon  Sumner,  and  was 
placed  by  Mr.  Curtis  in  the  Metropolitan  Museum  in 
New  York. 

Milmore  executed  several  soldiers'  monuments.  That 
on  Boston  Common  is  a  very  elaborate  work.  For 
Forest  Hills  he  executed  the  memorial  of  the  city  of 
Eoxbury  to  her  soldiers  who  died  in  the  War  of  the 
Eebellion.  It  represents  a  private  soldier  resting  upon 
his  gun,  as  though  contemplating  the  graves  of  his  fallen 
comrades.  The  soldiers'  and  sailors'  monument  in  Fitch- 
burg  and  the  soldiers'  monument  in  Charlestown  are  also 
by  Milmore. 


1844.]  MARTIx\  MILMORE.  307 

Tliis  sculptor  executed  some  works  in  conjunction 
with  his  brother,  Joseph  Milmore.  Of  these  should  be 
noticed  the  statuary  upon  Horticultural  Hall  in  Boston, 
and  the  memorial  Sphiux  in  Mount  Auburn.  The  latter 
is  a  very  impressive  work.  His  last  work  was  a  bust  of 
Daniel  "Webster,  to  be  placed  in  the  State  House  at 
Concord.     He  died  in  1883. 


STATE  NORMAL  SCHOOL, 


CATALOGUE  OF  ANTIQUE  SCULPTURES. 


Agasias.    Fighting  Gladiator. 

Agesander.     Laocoun. 

Alcamenes,  Copy  after.    (V)  Venus  of  Melos. 

"         "        Asdepius. 
Apollonius.     Torso  of  the  Belvedere. 
Apollonius  and  Tauriscus.     Toro  Farnese. 
Calamis,  Copy  after.    Apollo  Belvedere. 
"         "        Head  of  Apollo. 
"        "        Statuette  of  Apollo. 

Coll.  of 
Cephisodotus,  Copy  after.    Irene  and  Plutus. 
Chares.     Colossus  of  the  Sun.    (Destroyed.) 
Cleomenes.     Venus  de'  Medici. 
Cresilas,  Copy  after.     Wounded  Amazon. 
Bust  of  Pericles. 

Dying  Gaul  (School  of  Pergamus). 
Glycon.     Farnese  Hercules. 
Lysippus,  Copy  after.    Apoxyomenos. 
"        "        Ludovisi  Mars. 
jEsop. 
Myron,  f.'opy  after.    Discobolus. 


Naucydes,  Copy  after.     Discobolus. 
Phidias.     Sculptures  of  the  Parthenon. 


Polycletus,  O 
Praxiteles, 


py  after. 


Niobe  Group. 


Juno. 

Venus. 

Cupid. 

Satyr. 

Apollo  Sauroctoniis. 

(?)  ApoUino. 


Lowre,  Paris. 

Vatican,  Rome. 

Louvre,  Paris. 

British  3fuseuin,  London. 

Vatican,  Rome. 

Museum,  Naples. 

Vatican,  Rome. 

Museum,  Basle. 

Count  Stroganoff,  St.  Petersburg. 
Glyptothek,  Munich. 
Rhodes. 
Uffizi,  Florence. 
Capitol,  Rome. 
Glyptothek,  Munich. 
Capitol,  Rome. 
Museum,  Naples. 
I'atican,  Rome. 
Villa  Liulovisi,      " 
Villa  Albani,      " 
Palazza  Massimi,      " 
V^atican,      " 
B/nlish  Museum,  London. 
Vatican,  Rome. 
British  Museum,  London. 
Museum,  Naples. 
Glyptothek,  Munich. 
Vatican,  Rome. 
Capitol,      " 
Louvre,  Paris. 
UJJizi,  Florence. 


310 


CATALOGUE  OE  RENAISSANCE 


CATALOGUE  OF  RENAISSANCE  AND  MODERN 
SCULPTURES. 


Adam,  Lambert  Sigisbert.    Statue  of  the  Seine. 

"         "     Marne 

Sculptures. 

Adam,  Nicholas  Sebastien. 

Monument  of  Queen  of  Poland. 

Prometheus. 

Bronze  Eelief. 
Algardi,  Alessandro.     Flight  of  Attila 

God  of  Sleep. 
Alvarez,  Don  Jose.     Statue  of  Ganymede 


St.  Cloud. 


Gardens,  Versailles. 

St.  Pierre,  near  Nancy. 

Louvre,  Paris. 

Royal  Chapel,  Versailles. 

Altar  of  S.  Leo,  St.  Peter's,  Rome. 

Villa  Boryhese,     " 
Academy  of  S.  Fernando,  Madrid. 


Amadeo,  Giovanni  Antonio.     Reliefs.        Faqade  of  Colleoni  Chapel,  Bergamo. 
Monument  of  Bartolommeo  Colleoni.     "  "  " 

Medea  Colleoni.  "  "  "  " 

Certosa,  Pavia. 


Sculptures. 
Ammanati,  Bartolommeo. 

Monument  of  Cardinal  de'  Monti. 

Statues  of  the  Four  Seasons. 

Monument  of  Marco  Mantova  Benavides. 
Angier,  Francois. 

Monument  of  Due  de  Montmorency. 
"  Due  de  Longueville. 

"  Due  de  Rohan. 

Marble  Crucifix. 
Angler,  Michael.    Bust  of  Colbert. 

Sculptures. 

Christ  on  the  Cross. 

Sculptures. 
Bacon,  John.     Monument  of  Earl  of  Chatham. 

Monument  of  John  Howard. 
"  Dr.  Johnson. 

Statue  of  Judge  Blackstone. 
"        Thomas  Guy. 
Bandinelli,  Baccio.    Hercules  and  Cacus.    Front  of  Palazzo  Vecchio,  Florence. 

Choir  Screen.  Cathedral,        " 

Adam  and  Eve.  Palazzo  Vecchio,        " 


S.  Pietro  in  Montorio,  Rome. 

Ponte  SS.  Trinita,  Florence. 

Eremitani,  Padua. 

Chapel  of  the  College,  Moulins. 
Louvre,  Paris. 

Church  of  the  Sorbonne,     " 

Louvre,     " 

Church,  Valde  Grace. 

St.  Roche,  Paris. 

Porte  St.  Denis,      " 

Westminster  Abbey,  London. 

St.  PauVs,       " 
It  « 

All-SouVs  College,  Oxford. 
Guy's  Hospital,  London. 


AND  MODERN  SCULPTURES. 


311 


Banks,  Thomas.    Monument  to  Mrs.  Petree.  Lemshmn  Church,  Kent. 

Monument  of  Sir  Brook  Boothby's  Daughter.         Ashbounie,  Derbyshire. 

"  Sir  Eyre  Coote,  Westminster  Abbey,  London. 

"  Capts.  Burire.-s  and  Westcott.  St.  Paul's,     " 

Caractacus  before  Claudius.  Stowe,  England. 

Barye,  Antoine  Louis.    Lion.  Colonne  de  Juillet,  Pai-is. 

Lion  and  Bua.  Garden  of  the  Tuileries,      " 

Jaguar  devouring  a  Hare.  Luxembourg  Gallery,      " 

Allegorical  Figures.  New  Louvre,      " 

Collection  of  Sculptures.  Corcoran  Gallei-y,  Washington. 

Begarelli,  Antonio  (da  Modena).  Descent  from  the  Cross.  <S.  Francesco,  Modena. 


DoscL'nt  from  the  Cross. 

StMtUOS. 

Begas,  Eheinhold.    Schiller  Monument. 

Altar-]iicce. 
Behnes,  William.     Statue  of  Dr.  Babington. 
Dr.  Bell. 
"         llavelock. 
Bernini,  Giovanni  Lorenzo.    Apollo  and  Daphne. 
Balilaichino. 
Catliedra  Petri. 
Figures  of  Saints. 
Tomb  of  Urban  VIIL 

"       Alexander  VIL 
S.  Teresa.  S 

Rape  of  Proserpine. 
Fontana  del  Tritone. 
Statue  of  S.  Bibiana. 
"        S.  Scbastiano. 
Berruguete,  Alonso.    Reliefs. 

Mniiununt  of  Cardinal  Tavera. 
Bologna,  Jean  de.     Flying  Mercury. 
l>iui.'slrian  Statue  of  Cosmo  1. 

"  "  Ferdinand  I. 

Statue  of  St.  Luke. 
Rape  of  the  Sabines. 
Fountain. 


i\  Pietro, 

Schiller-Platz,  Berlin. 
Werder  Church,      " 
St.  Paul's,  London. 

Westminster  Abbey,       " 
Trafalgar  Square,       " 

Villa  Borghese,  Rome. 
St.  Peter's,     " 


Statuettes  of  Christ  and  St.  John  the  Baptist 

Crufifixion. 

Broiizf'  I  )o(irs. 
Bosio,  FranQois  Joseph.    Reliefs. 

Bronze  Quadriga. 

Marble  Group. 

Mytliologi' a!  Sruljilures. 
Bouchardon,  Edm^.     Statues  of  the  Apostles. 

Cupid  and  Psyche. 

Victorious  Cupid. 

Girl  with  a  Stag. 


S.  Maria  delta  Vittoi'ia,     " 

Villa  Ludovisi,     " 

Piazza  Barherini,     " 

S.  Bibiana,     " 

iS.  Sebastiano  {Appian  Way),     " 

Choir  of  Cathedral,  Toledo. 
Hospital  of  S.  Juan,         " 
Ujfizi  Gallery,  Florence, 
Piazza  delta  Signoria,         " 
Piazza  delta  S.  Annunziata,         " 
Or  San  Michele,        " 
Loggia  de'  Lanzi,        " 
Boboli  Gardens,        " 
Piazza  Nettuno,  Bologna. 
Cathedral,  Pisa. 


Colonne  Venddme,  Paris. 

Arc  de  Triomphe,     " 

Chapelte  Fxpiatoire,      " 

Louvre,     " 

Si.  Sulpice,     " 

Louvre,      " 


312 


CATALOGUE  OF  RENAISSANCE 


Union  Square,  New  York. 

Washington, 

National  Statuary  Hall,  Washington. 


Brown,  Henry  Kirke. 

Equestrian  Statue  of  Washington 
"  "  Scott. 

Statue  of  Gen.  Greene 
Erunellesco,  Filippo. 

Bronze  Relief.  Museum  of  the  Bargello,  Florence 

Modern  Crucitix.  Capella  del  Gonde,  S.  M.  Novella,        " 

Baonarotti,  Michael  Angelo.     Head  of  a  Faun.  Uffizi  Gallery,        " 

Battle  of  Hercules  and  the  Centaurs.  Casa  Buonarroti,         " 


Angel  with  a  Candelabrum. 
Kneeling  Cupid. 
Pieta. 

]\Iadonna  of  Bruges. 
Statue  of  David. 
Tomb  of  Julius  II. 
Captives. 
Statue  of  Christ. 
Tombs  of  the  Medici. 
Madonna  and  Child. 
Pieta. 

Various  works  in  Marble. 
Bas-relief. 
Campbell,  Thomas.     Monumental  Sculptures 
Statue  of  Mrs.  Siddons. 

"         Pauline  Borghese 

"         Lord  Bentinck. 


S.  Dumenico,  Bologna. 

S.  Kensington  Museum,  London. 

St.  Peter's,  Rome. 

Cathedral,  Bruges. 

Academy  of  Fine  Arts,  Florence. 

S.  Pietro  in  Vincoli,  Rome. 

Louvre,  Paris. 

S.  Maria  sopra  Minerva,  Rome. 

S.  Lorenzo,  Florence, 


Cathedral,         " 

UJizi  Gallery,         " 

Casa  Buonarroti,         " 

St.  Paul's,  London. 
Westminster  Abbey,     " 
Gallery  of  Duke  of  Devonshire,  Chatsworth. 
Cavendish  Square,  London, 


Canova,  Antonio.     Dsedalus  and  Icarus. 
Theseus  conquering  the  Minotaur. 
Perseus. 
Pugilists. 
Venus  Victrix. 
Letizia. 
Hebe. 
Psyche. 

Monument  of  Maria  Christina. 
"  Clement  XIII. 

Clement  XIV. 
Statue  of  Napoleon. 
Head  " 

Statue  of  Washington. 

Pius  VI. 
Reliefs. 

Venus  at  the  Bath. 
Monument  of  Alfieri. 
Busts  of  Eminent  Italians. 
Cupid  and  Psj'che. 


Cellini,  Benvenuto. 

Shield. 
Perseus. 


Nymph  of  Fontainebleau. 


Pisani  Palace,  Venice. 

VolJcsgarten,  Vienna, 

Vatican,  Rome. 

Borghese  Gallery,     " 

Coll.  of  Duke  of  Devonshire,  London. 

Museum,  Berlin. 

Royal  Palace,  Munich. 

Chu'>''ih  of  the  Augustines,  Vienna. 

St.  Peter's,  Rome. 

Apsley  House,  London. 

Corcoran  Gallery,  Washington. 

State  House,  Raleigh,  N.  C. 

Crypt  of  St.  Peter's,  Rome. 

Church,  Possagno. 

Pitti  Palace,  Florence. 

S.  Croce,        " 

Palace  of  the  ConservatoH,  Rome. 

Villa  Carlotta,  Como. 


Louvre,  Paris. 

Windsor  Castle. 

Loggia  de'  Lanzi,  Florence. 


AND  MODERN  SCULPTURES.  313 

Chantrey,  Sir  Francis.     Statue  of  James  Watt.      Westminster  Abbey,  London. 

Statue  of  IJij^liop  Ileber.  St.  Paul's,  LotnloJi. 

"  Washington.  '    State  Ifotise,  Boston. 

Bust  of  J.  IJanks.  Libraitj  of  Royal  Society,  London. 

"       Mrs.  Souierville.  "  "  "  '' 

Chaadet,  Antoine  Denis. 

Slieplard  of  I'olybus  carrying  away  CEdipus.  Louvre,  Paris. 

Ht-lief.  J'eriiilyle  of  Pantheon,      " 

Statue  of  Napoleon.  OUl  Museum,  Berlin. 

Silver  Statue  of  Peace.  Louvre,  Paris. 

Cibber,  Caius  Gabriel.     I'liivnix.  South  Portal  of  St.  Paul's,  London. 

Figures  of  Kaving  ami  Melancholy  Maduess.  5.  Ktiuinijton  Mas.,       " 

Faith  and  Hopo.  Chapel,  Chatsworih. 

Mythological  Woiks.  " 

Clemento,  Prosperi  (Spani). 

Statues  (il  Adam  and  ICve.  Portal  of  Cathedral,  Jlcyi/io. 

Monument  of  Ugo  h'angoni.  "  '' 

Principal  Altar.  Cathedral,  Parma. 

Monument  of  Prafi.  "  " 

Andrcasi.  "        Mantua. 

Colomb,  Michael.     Das-relief  of  St.  George  and  the  Dragon.        Louvre,  Paris. 

Statue  of  Philippe  de  Coniines  and  his  Wife.  "  " 

Monument  of  Francis  11.  and  Marguerite  de  Foix.         Cathedral,  Nantes. 
Cortot,  Jean  Pierre.     Marble  Group.  Chapelle  Expiatoire,  Paris. 

IVdini'iil  (iroup.  Palais  des  Corps  Legislatif,      " 

Crowning  of  Napoleon.  'Arc  de  I'Etoile,      " 

Coustou,  Guillaiune.     Horse-tamers.  Champs  ^lysees,      " 

Coustou,  Nicholas.     Srulptures.  Louvre,      " 

Coysevox,  Charles  Antoine.     Tomb  of  Cardinal  Mazariu.  "  " 

Bust  of  liichelieu.  "  " 

Bossuet.  "  " 

"      Lebrun.  "  " 

"      Mignard.  "  " 

I"am«' anil  .Mercury.  Entrance  to  Gardens  of  Tuileries,      " 

Crawford,  Thomas  G.     Orpheus.  Athtnaum,  Boston. 

Statue  of  lleethoven.  Music  Hall,        " 

Hebe  and  Ganymede.  Mitsevm  of  Fine  Art,       " 

Bust  of  Charles  Sumner.  "  "  " 

Equestrian  Statue  of  Washington.  State  Capitol,  Richmond. 

Allegorical  Group.  Capitol,  Washington. 

Statue  of  Liberty.  "  " 

Indian  <"'hiif.  Ilistorirol  Society,  New  York. 

Darner,  Anne  Seymonr.     Statue  of  George  III.  Register  Office,  Kdinlmrgh. 

Bust  of  CoMnti.-,ss  of  Aylesbury.  Church,  Tunhridge. 

"      Nelson.  Common  Council  Chamber,  Guildhall,  L<mdim. 

"      Bacchus.  Unirersily  G(dhry,  Oxford. 

Dannecker.  Johann  Heinrich.     Bust  of  Lavalcr.  Library.  Znrirh. 

l!ii-l  of  .S.  Iiillc  r.  Mnsriim.  Stuttgart. 

Statue  of  Christ.  Imptrial  Cnllcrtion,  St.  Pilirsburg. 


114 


CATALOGUE  OP  RENAISSANCE 


Dannecker,  Johann  Heinricli.     Statue  of  Christ.         St.  Emmeram,  Ratisbon. 


Mythological  Works. 

Ariadne. 

Bacchus. 

Venus. 
David,  Pierre  Jean.    Keliefs. 

Statue  of  Jefferson. 
"        Gutenberg. 

Philopoemen. 
Delvaux,  Laurent.    Pulpit. 

Statue  of  Hercules. 
Dexter,  Henry.    Portrait  Busts. 

Statue  of  Gen.  Joseph  Warren. 

Backwoodsman. 

Binney  Monument. 


Rosenstein  Palace,  near  Stuttgart. 

Bethmann  Museum,  FranJcfort  a.  M. 

New  Palace,  Stuttgart. 

Pediment  of  the  Pantheon,  Pai-is. 

Sail  of  Statuary,  Washington. 

Place  Gutenberg,  Strasburg, 

Louvre,  Paris. 

Cathedral,  Ghent. 

Ducal  Palace,  Brussels. 

Bunker  Hill,  Boston. 

Wellesley  College,  Wellesley. 

Mount  Auburn,  Cambridge. 


Bust  of  Prof.  Felton.  Library  of  Harvard  University,         " 

Drake,  Friedrich.     Madonna  and  Child.  Royal  Collection,  St.  Petersburg. 

Allegorical  Figures  of  Prussian  Provinces.    White  Saloon  of  Palace,  Berlin. 
Statue  of  Frederick  William  III.  Thiergarten,      " 

'•         Prince  von  Putbus.  Castle  Park,  Putbus. 

Equestrian  Statue  of  King  William  of  Prussia.   Railway  Bridge,  Cologne. 
Statue  of  Eauch.  Vestibule  cf  Museum,  Berlin. 

"         Schinkel.  Bau-Acadamie-Platz,     " 

"         Melanchthon.  Markt-Platz,  Wittenberg. 

Monument  of  Duchess  Pauline  of  Nassau.  Cemetery,  Weisbaden. 

Figure  of  Dying  Warrior.  Wa)Tior''s  Monument,  Aix-la- Chape  lie. 

"         Victor^'.  Victory  Column,  Konigs-Platz,  Berlin. 

Duquesnoy,  FranQOis.     Groups  of  Children.  St.  Peter's,  Rome. 

Statue  of  St.  Andrew.  "  " 

"  S.  Susanna.  S.  Mama  di  Loreto,      " 

Fiesole,  Mine  da.    Monument  of  Bernardo  Giugni.  Badia,  Florence. 

Sculptures. 
Monument  of  Pope  Paul  II. 

"  Francesco  Tornabuoni. 

Marble  Pulpit. 

Monument  of  Liouardo  Salutati. 
Marble  Altar. 
Relief  Portraits. 
Ciborium. 
Foley,  John  Henry.    Statue  of  Prince  Albert. 
Group  of  Asia. 

Equestrian  Statue  of  Lord  Hardinge. 
"  "  Sir  James  Outram. 

Frazee,  John.    Bust  of  John  Wells,  Esq. 
Bust  of  himself. 

"        Judge  Marshall. 
"        John  Jaj'. 

Ghiberti,  Lorenzo.    Bronze  Doors.  Baptistery,  Florence. 

Shrine  of  St.  Zenobius.  Cathedral,        " 


Crypt  of  St.  Peter's,  Rome. 
S.  M.  svjjra  Minerva,      " 

Cathedral,  Praia. 

Cathedral,  Fiesole. 

ti  (( 

Bargello,  Florence. 

Ba2}tistery,  Volterra. 

Albei-t  Memorial,  London. 

II  K  11 

Calcutta. 
« 

Grace  Church,  New  York. 
Academy  of  Fine  Arts,  Philadelphia. 
11  11  (1 

U.  S.  Supreme  Court  Room,  Washington. 


AND  MODERN  SCULPTURES. 


315 


Ghiberti,  Lorenio.    Statue  of  St.  Johu  the  Baptist.     Or  San  Michele,  Florence. 
Statue  of  St.  Matthew.  "  "  " 

"         St.  Stephen.  "  "  " 

Trial  I>clief.  Museum  of  the  Bnrgdlo,         " 

Gibbons,  Grinling.     Decorations  in  AVood-oarving.  Chalsworth. 

"  "  "  Petworth. 

St.  Paul's,  London. 
St.  James's,        " 


Choir  Decorations. 
-Mtar 
M:irl>le  Font. 
Gibson,  Jolin.     Mars  and  Cupid 
Psyche  borne  by  Zephyrs. 


Statue  of  Queen  Victoria. 


George  Stevenson. 
Mr.  Huskisson. 


Coll.  of  Duke  of  Devonshire,  Chatstcoi-th. 

Coll.  of  Sir  Geoi-ge  Beaumont. 

Torlonia  Palace,  Rome. 

Coll.  of  Grand  Duke  of  Rus.<{a,  St.  Petersburg. 

Buckingham  Palace,  London. 

Westminster  Palace,  London. 

St.  George's  Hall,  Liverpool. 

St.  James  Cemetenj,  " 

Front  of  Custom-fiouse,  " 

Crystal  Palace,  Sydenham. 

Royal  Academy,  London. 

Gardens,  Versailles. 

Church  of  the  Sorbonne,  Paris. 

Paris. 

Louvre,     " 


Casts  from  Sculptures. 
Models  and  Sketches.' 

Girardon,  Francois.     Rape  of  Proserpine. 
.Mi.minKiU  <if  Cardinal  Richelieu. 

Goujon,  Jean.     Fountain  of  the  Innocents. 

Reliefs  from  Fountain  of  the  Innocents. 
Statue  of  Diana.  "  " 

Entombment  of  Christ.  "  " 

Four  Evangelists.  "  " 

MciHument  of  Uuke  de  Brdzd.  Cathedral,  Rouen. 

Greenough,  Horatio.   Statue  of  Washington.    Frontof  the  Capitol,  Washington. 
The  Rescue.  Eastern  Portico  of  the  Capitol,  " 


Gnillain,  Simon.     Bronze  Statue  of  Louis  XIII. 
Bronze  Statue  of  Anne  of  Austria. 
"  "  Louis  XIV.  as  a  Child. 

Hart,  Joel  T.     Statue  of  Henrj-  Clay. 

11  11  (t 

Statue  of  Voltaire. 


Louvre,  Paris. 


Louis  rill  e. 
New  Orleans. 
Theatre  Francois,  Paris. 


Hoadon,  Jean  Antoine. 
Bu-t  of  M.,liere. 

''       Rousseau. 
Statue  of  Diana. 

"  Washington. 

Bust  of  I^fayette. 

"       Wasliington. 
Statue  of  S.  Bruno. 
Juste,  Jean. 

Monument  of  Louis  XIII.  and  Anne'of  Bretagne.  Abbey  Church,  St.  Denis. 
"  Children  of  Charles  VIII.  and  Anne  of  Bretagne. 

Cathedral,    Tours. 
Kill,  Augustus.  !v|ue8trian  Statue  of  Frederick  the  Great.  Grosse  Ring,  Breslau. 
Sutuc  of  Frederick  William  III.  '•  " 


Louvre,     " 

State  House,  Richmond. 
11  II 

Collection  of  Hamilton  Fish,  New  York. 
S.  Maria  degli  Angeli,  Rome. 


316  CATALOGUE  OF  RENAISSANCE 

Kiss,  Augustus.    Statue  of  Frederick  William  III.    Kimigs-Garten,  Konigsberg. 
Model  of  Equestrian  Statue  of  Frederick  the  Great. 

Penn.  Acad,  of  Fine  Arts,  Philadelphia. 
Statue  of  Frederick  William  III.  Wilhelim-Platz,  Potsdam. 

Relief.  St.  Nicholas,         " 

Fountain.  Park  of  Sarissouci,         " 

Krafft,  Adam. 

The  Seven  Stages.         Road  to  the  Cemetery  of  St.  Johannes,  Nuremberg. 
The  Schrej'er  Monument.  St.  Sebald, 

Tabernacle.  St.  Lawrence, 

Entombment.  Holzsckuher  Chapel,  Cemetery  of  St.  Johannes, 

Labenwolf,  Pankraz.     Fountain.  Courtyard  of  Bathhaus, 

Fountain.  Gdnsenmarlct, 

Lemaire,  Philippe  Henri.    Last  Judgment.     Pediment  of  the  Madeleine,  Paris. 
Sculptures.  Gallery  of  the  Luxemhourg,  "   " 

"  Pediment  of  St.  Vincent  de  Paul,      " 

Relief.  Chapelle  Expiatoire,      " 

LeMot,  FranQois  Frederique.     Bas-reliefs.  Fagade  of  Louvre,     " 

Bas-reliefs.  Tribune  of  Chamber  of  Deputies,      " 

Statue  of  Louis  XLV.  •  Lyons. 

Leopardo,  Alessandro. 

Monument  of  Andrea  Vendramin.  SS.  Giovanni  e  Paolo,  Venice. 

"  Cardinal  Zeno.  S.Marco,       " 

Altar  in  Zeno  Chapel.  "  " 

Pedestals  of  the  Pillars  of  S.  Marco.  Piazza  S.  Marco,       " 

Statue  of  Colleoni.  Front  of  Scuola  di  S.  Marco,       " 

Lombardi,  Alfonso  (Cittadelli).    Reliefs.         Fagade  of  S.  Petronio,  Bologna. 
Relief.  Tomb  of  S.  Domenico,  Church  of  S.  Domenico,         " 

Hercules  and  the  Hydra.  Palazzo  Pubblico,         " 

Reliefs.  Cathedral,  Cesena. 

Lombardo,  Girolamo.    Bronze  Gates.  Santa  Casa,  Loreto. 

Madonna.  Portal  of  Church  of  the  Santa  Casa,      " 

Maderno,  Stefano.     Statue  of  S.  Cecilia.  S.  Cecilia  in  Trastevere,  Rome. 

Bas-reliefs.  S.  Maria  Maggiore,      " 

Majano,  Benedetto  da.    Marble  Pulpit.  S.  Croce,  Florence. 

Bust  ofPietroMellini.  Uffizi,        " 

Tomb  of  Filippo  Strozzi.  S.  M.  Novella,        " 

Altar.  La  Collegiata,  S.  Gimignano. 

Shrine.  S.  Agostino,  " 

Martos,  Ivan  Petrovitch.     Statues  of  Minin  and  Pozharski.  Moscow. 

Monument  of  Prince  Potemkin.  Cherson. 

'*  Emperor  Alexander.  Taganrog. 

"  Lomonosov.  Archangel. 

Masuccio,  Tommaso  de'  Stefani. 

Monument  of  King  Robert  the  Wise.  S.  Chiara,  Naples. 

"  Charles,  Duke  of  Calabria.  "  " 

Monuments.  S.  Domenico,        " 

Micballon,  Claude. 

Mausoleum  of  Jean  Germain  Drouais.  S.  Maria  in  Via  Lata,  Rome. 


AJsD  MODERN   SCULPTURES. 


317 


Michelozzi,  Michelozzo. 
Fi^'ure  of  i'aith. 


Smlptures  iu  Medici  Chapel. 
Mills,  Clark.     Kquestriaii  Statue  of  Jackson 
lujuestriaa  Statue  of  Jackson. 
'■  "  Wasbiugton. 

Milmore,  Martin,     bust  of  Georye  Tickuor. 
Bust  01  Wendell  Phillips. 

•'       llalph  Waldo  Eniersou. 
"       Theodore  Parker. 
"      Charles  Sumner. 
Soldiers'  Monument. 


Tomb  of  John  XXIII,  Baptistei-y,  Florence. 


iS.  Jliniiito,  near         " 

Washington. 

Aew  Orleans. 

Washington. 

Public  Library,  Boston. 


Statuary. 

Memorial  Sphinx. 
Montaues,  Juan  Martinez. 

Conception. 

Sculptures. 
Montelupo,  Baccio  da.     Statue  of  St.  John. 
Montelupo,  Rafael  da.     Bas-reliefs. 

Mciiiunuiit  of  Baldassare  Turiui. 

Sculptures. 

Fiirures  upon  Tomb  of  Julius  II. 
Montorsoli,  Fra  Giovanui  Angelo.     Sculptures 


Metropolitan  Museum,  New  York. 
Common,  Boston. 
Forest  Hills,      " 
Horticultui-al  Hall,       " 
Mount  Auburn,      " 


Chapel  of  S.  Augustine,  Cathedral,  Seville. 

Museum,       " 

Or  San  Michtle,  Florence. 

Casa  Santa,  Loreto. 

Cathedral,  Peseta. 

Caitle  of  S.  Angelo,  Rome. 

S.  M.  supra  Minerva,      " 

S.  Matteo,  Genoa. 


Sculptures.  Palazzo  dei  Principi  Dona,       " 

Fountain.  Piazza  of  Cathedral,       " 

Nola,  Giovanni  da.    Monument  of  the  Brothers  Severini.      S.  Severo,  Naples. 

Monument  of  Don  Pedro  di  Toledo.    S.  Giacomo  degli  Spagnuoli, 

Monuments. 

Kelief. 

High  Altar. 

Statues  of  Saints. 
Nollekens,  Joseph.    Officers'  Monument. 

Tomlj  of  Bishop  Thomas. 

Medallion  of  Goldsmith. 

Bu-t  f.f  .Mr.  Townley. 
Orcagna,  Andrea.     Tabernacle. 
Pajou,  Angustin.     Sculptures. 

Sculjdures. 


S.  Domenico,       " 

S.  Lorenzo,      " 

II  i< 

Westminster  Abbey,  London. 


British  Museum,        " 
Or  San  Michcle,  Florence. 
Palais  Royal,  Paris. 
Opera  House,  VersailUs. 
Cathedral,  Orleans. 
Louvre,  Paris. 


I'-v(he. 
Figalle,  Jean  Baptists. 

Monument  to  Marshal  Saxe. 

Bust  of  Marshal  Saxe. 

Tomb  of  Marslial  Ilarcourt. 

Statue  of  Voltaire. 

Vciius. 
Pilon,  Germain. 

Moiiuineiit  of  lliiiry  11.  and  Catherine  de'  Medici.  Abbey  Church,  St.  Di^nis. 


St.  Thomas,  Strasburg. 
Louvre,  Paris. 
Notre  Dame,      " 
Institute  of  France,      " 
Garden  of  Sanssouci,  Potsdam. 


318 


CATALOGUE  OP  RENAISSANCE 


Second  south  door  of  Cathedral,  Florence. 

Campo  Santo,  Pisa. 

Cathedral,  Prato. 

Cathedral,  Pistoja. 

11  11 

Cathedral,  Pisa. 

Baptistery,     ' ' 

Cathedral,  Sienna. 

Perugia. 

S.  M.  della  Spina,  Pisa. 

Museum  of  the  Bargello,  Florence. 
St.  Peter's,  Rome. 


Filon,  Germain.    The  Three  Graces.  Louvre,  Paris. 

Monument  of  R^ne  de  Birague  and  Valentine  Balbiani.  "  " 

Pisano,  Andrea.     Statues  (formerly  on  Cathedral).    Palazzo  Strozzi,  Florence. 

Eeliefs.  Campanile,         " 

Bronze  Door.  Baptistery,         " 

Fisano,  Giovanni. 

Statue  of  the  Madonna. 
"        Pisa. 
"        the  Madonna. 

Marble  Pulpit. 

Holy-water  Basin. 

Marble  Pulpit. 
Pisano,  Niccola.    Marble  Pulpit. 

Marble  Pulpit. 

Fountain. 
Pisano,  Nino.     Sculptures. 
Pollajuolo,  Antonio. 

Relief  of  the  Crucifixion. 

Monument  of  Sixtus  IV. 

Innocent  VIII.  "  " 

Porta,  Fra  Gnglielmo  della. 

Monument  of  Pope  Paul  III.  Tribune  of  St.  Peter's,  Rome. 

Statues  of  Peace  and  Abundance.  Farnese  Palace,      " 

Powers,  Hiram.     Statue  of  Eve.  Collection  of  A.  T.  Stewart,  New  York. 

Greek  Slave.  Corcoran  Gallery,  Washington. 

Ginevra. 

Proserpine. 

California. 

La  Penserosa. 

Statue  of  Webster. 
"        Jefferson. 

Bust  of  Judge  Marshall. 
"      J.  Q.  Adams. 
Pradier,  Jacques.    Niobe  Group. 

Psyche. 

Atalanta. 

Prometheus. 

Marriage  of  the  Virgin. 

Sculptures. 
Puget,  Pierre.    Milo  of  Crotona. 

Perseus  liberating  Andromeda. 

Alexander  and  Diogenes. 
Querela,  Jacopo  della.     Sculptures  of  Fonte  Gaja.     Opera  del  Duomo,  Sienna. 

Sculptured  Font.  Chapel  of  S.  John,  Cathedral,       " 

"  "  ;S.  Giovanni,       " 

Reliefs  of  Door.  S.  Petronio,  Bologna. 

Tomb  of  Ilaria  Guinigi.  Cathedral,  Lucca. 

Eauch,  Christian  Daniel.     Monument  of  Queen  Louise.  Charlottenburg. 

Monument  of  Frederick  William  III.  _  " 


Metropolitan  Museum,  Neiu  York. 

Lenox  Library,  " 

State  House  Grounds,  Boston. 

Capitol,  Washington. 

U.  S.  Sujyreme  Court  Room,  " 

Penn.  Acad,  of  Fine  Arts,  Philadelphia. 

Luxembourg  Gallery,  Paris. 


Gardens  of  the  Tuileries,      " 

Madeleine,       " 

Ste.  Clothilde,      " 

Louvre,  Paris. 


AND  MODERN  SCULPTURES. 


319 


Banch.  Christian  Daniel.  Statue  of  Queen  Louise. 
Monument  of  Quoen  Frederica. 

"  Kiiij;  Ernest  Augustus. 

"  Frederick  the  Great. 

Statue  of  Albert  Diirer. 

"        Auj^xist  Hermann  Francke. 
"        Blucher. 
"        Gneisnau. 
"        York. 
"        Bliicher. 
Statues  of  First  Christian  Polish  Kings. 
Victories. 

Monument  to  King  Max-Joseph. 
Moses. 
Bietschel.  Ernst.     Statues  of  Goethe  and  Schiller 
Maddiinu  and  the  Dead  Christ. 
Statue  of  Lessing. 

"        Thaer. 
Lnther  Monument. 
Monument  of  Frederick  Augustus. 
Statue  of  Weber. 
Bust  of  Luther. 
Quadriga. 
Reliefs. 
Morning,  Xoon,  Evening,  and  Night 

In  possession  of  Uerr  von  Wohvnan,  Dresden. 
Sinehart,  William  Henry.    Statue  of  Judge  Taney.  Annapolis. 

Portrait  Busts. 


Parle  of  Sanssouci,  Potsdam. 
He  rre  n  ho  use  n,  Ua  nave  r. 

a  ii 

Cnter  den  Linden,  Berlin. 

Ddrer-Flatz,  Nuremberg. 

Orphanage,  Halle. 

Opern-Platz,  Berlin. 


Bldcher-Platz,  Breslau. 

Cathedral,  Posen. 

Walhalla,  Ratisban. 

Max-Joseph-Platz,  Munich. 

Friedenskirche,  Potsdam. 

Theatre-Platz,  Weimar. 

Friedenskirche,  Potsdam. 

Brunsmick, 

Leipzig. 

Luther-Platz,  Worms. 

Dresden. 


Walhalla,  Munich. 

Portal  of  the  Palace,  Brunswick. 

Hall  of  the  University,  Leipsic. 


Clytie. 

End^-mion. 

Sleeping  Children. 

I{el)eeca. 
Sobbia,  Luca  della.    Kdicfs. 

Marble  Frieze. 

Bronze  Door  of  Sacristy. 

Reliefs. 

Altar  in  Terra-cotta. 

Works  of  Luca  and  his  School 
Eogers,  Randolph.     Bronze  Door. 

Completion  of  Washington  Monument 

Figure  of  Itutli. 

Figure  of  Nydia. 

Genius  of  Connecticut. 

Soldiers'  Memorial. 


Roland,  Phillippe  Lanrent. 
Statue  of  Homer. 
Bust  of  Pajou. 


Relief. 


Peabody  InMilute,  Baltimore. 
Corcoran  Gallery  of  Art,  Washington. 


Exterior  of  Campanile,  Florence. 

Uffizi,        » 

Cathedral,         " 

II  (( 

iS.  Apostoli,        " 
Museum  of  the  Bargello,        " 

Capitol,   Washin£ion. 
Richmond. 


Capitol,  Hartford. 

Cincinnati. 

Detroit. 

Providence. 

Worcester. 

Palace,  Fontainebleau. 

Louvre,  Paris, 


820 


CATALOGUE  OF  RENAISSANCE 


Church  of  S.  Miniato. 
Monte.  Oiiveto,  Naples. 


Westminster  Abbey,  London. 


Arc  de  VEtoile,  Paris. 
Cemetery  oj"  3Iontmartre,      " 
Garden  of  the  Luxembourg,      " 

It  II  i(  (( 

Louvre,      " 


Kossellino,  Antonio. 

Monument  of  Cardinal  of  Portugal. 

"  Mary  of  Aragon. 

Reliefs. 

Reliefs  upon  Pulpit.  Cathedral,  Prato. 

Reliefs.  Uffizi  Gallery,  Florence. 

Rossellino,  Bernardo.    Monument  of  Leonard!  Bruni.  S.  Croce,  Florence. 

Monument  of  Beato  Villani.  S.  M.  Novella,         " 

Rossi,  John  Charles  Felix.    Monument  of  Lord  Cornwallis.  St.  Paul's,  London. 
Monument  of  Lord  Heathfield.  "  " 

''  Lord  Rodney.  "  " 

"  Captain  Faulkner.  "  " 

Boubiliac,  Louis  Franqois. 

Mouuraent  to  Mrs.  Nightingale. 
"  Duke  of  Argyle. 

"  Sir  Peter  Warren. 

"  George  Frederick  Handel. 

Eude,  Francois.     Relief  { Marseillaise). 
Monument  of  Godefroy  Cavaignac. 
Statue  of  Joan  of  Arc. 

"        Marshal  Ney. 
Mercury. 
Rustici,  Giovan-Francesco. 

Preaching  of  St.  John  the  Baptist.  Northern  door  of  Baptistery ,  Florence. 
Sansovino,  Andrea  (Contuccio). 

Baptism  of  Christ.  Above  eastern  door  of  Baptistery,  Florence. 

Monument  of  Cardinal  Ascanio  Maria  Sforza.        S.  M.  del  Popolo,  Home. 

"  Cardinal  Girolamo  Basso.  "  "  " 

Virgin  and  Child  and  St.  Anna. 
Statues  and  Reliefs. 
Sansovino  {Jacopo  Tatti).     Bronze  Reliefs. 
Bronze  Gate  of  the  Sacristj'. 
Four  Evangelists. 

Sculptures  in  Loggetta  of  Campanile. 
Statue  of  St.  John. 
Schadow,  Johann  Gottfried. 

Statue  of  Frederick  the  Great. 
"        Marshal  Bliicher. 
' '        Luther. 
Quadriga  of  Victory. 
Scheemakers,  Pieter.   Monument  to  Shakespeare.    Westminster  Abbey,  London. 
Monument  to  Dryden.  "  "  " 

"  Hugh  Chamberlain.  "  "  " 

Schievelbein,  Herman.     Pegasus  and  the  Horae.  Old  Museum,  Berlin. 

Destruction  of  Pompeii.  New  Museum,       " 

Schliiter,  Andrea.     Statue  of  Great  Elector.  Kurfiirsten-Brucke,       " 

Decorations  of  Arsenal.  '< 

"  Roj^al  Palace.  " 

Char'lottenburg. 


S.  Agostino,      " 
Casa  Santa,  Loreto. 
Choir  of  S.  Marco,  Venice. 
S.  Marco,        " 
Altar,  S.  Marco,        " 
S.  Marco,       " 
Font,  S.  M.  del  Frari,  Venice. 

Theatre-Platz,  Stettin. 

Bliicher-Platz,  Rostock. 

Marht-Platz,  Wittenberg. 

Brandenburg  Gate,  Berlin. 


AND  MODERN   SCULPTURES. 


321 


Schwan thaler,  Ludwig  Michael.     Statue  of  Bavaria.    Ilall  of  Fame,  ^funich. 

Salzburg. 
Baireuth. 
Goethe-Plats,  Frankfort  a.  M. 
Stdiltl  Institute,  "  " 

Walhalla,  Ratisbon. 
LuJwiyskirclte,  Munich . 
Library,         " 
Palace  of  Duke  Max,         " 
Projiyhea,  " 

Glyptothtk,         " 
Pinnkothik,         " 
Royal  Poldce,  " 

Porch  of  Ftstgaalbau,         " 
Throne-room  of         "  " 

Settignano,  Desiderio  da.   Monument  of  Carlo  Marsuppini.  S.  Croce,  Florence. 


Statue  of  Mozart. 

'•        Jean  Paul. 

"        Goetlie. 
Shield  of  Hercules. 
IVdinieut  Groups. 
Statues  of  Christ  and  Evangelists. 
Statues. 
Reliefs. 


Statues. 
Reliefs. 

Alkfiorical  Figures. 

Slatui's. 


Bust  <if  Marietta  Strozzi. 

Holv  Child. 

lUli.f. 
Stevens,  Alfred.     Wellington  Monument. 
Story,  William  Wetmore.     Sutue  of  Judge  Story 

Statue  of  George  Peabody. 


Strozzi  Palace,         " 
S.  Lorenzo,         " 

Badin,  Fiesole. 
St.  PauVs,  London. 
Chapel,  Mount  Auburn. 
London, 
Baltimore. 
Metropolitan  Museum  of  Art,  New  York. 


Semirainis. 
Cleopatra. 
StoSB,  Veit.     High  Altar. 

Munument  of  Casimir  the  Great. 
Wood -carving. 

Paiul  nf  n..<cs. 
Thorvaldsen,  Bertel.    Jason. 
Adunis. 

Cupid  and  Psyche. 
Night  and  Morning. 

Ganymede  and  the  Eagle. 
Triumph  of  Alexander. 

Dying  Lion. 

Efiuestrian  Statue  of  Maximilian. 
Statue  of  Gutenberg. 
Schiller  Monument. 
Reliefs. 

Statues  of  Christ  and  the  Apostles.   Interior 
The  Ust  Supper.  •'  "  "  " 

The  Ang.l  of  Baptism.  "  "  "  " 

C'>pii-'i  nil'!  ModcN  of  Works.  Thorvaldsen  Museum,  " 

Tieck,  Christian  Friedrich.    Sculptures.  Theatre,  BcrHn. 

Hora;.  Mausoleum  of  Queen  Louise,  Potsdam. 


St.  Mary's.  Cracow. 
Cathedral,         " 
St.  Lawrence,  Nuremberg. 
St.  Sebald,  " 

Burykapelle,  " 

Thorvaldsen  Museum,  Copenhagen, 
Glyptothek,  Munich. 
Thorvaldsen  Mtiseum,  Copenhagen. 

It  a  it 

Coll.  of  Duke  of  Devonshire,  Chatsworth. 

Thorvaldsen  Museum,  Copenhagen, 

Villii  Carlotla,  Lake  Como. 

Palace  of  Christiansborg,  Copenhagen. 

Lucerne. 

Munich. 

Mainz. 

Stuttgart. 

F.xterior  of  Frue  Kirke,  Copenhagen. 


322       CATALOGUE  OE  SCULPTURES. 

Torrigiano,  Pietro.     Monument  of  Henry  VII.  and  Queen  Elizabeth. 

Chapel  of  Htnry  VII.,  Westminster  Abbey. 

Monument  of  Margaret  of  Richmond.     "  "  "  " 

Trebatti,  Paolo  Ponzio.    Monument  of  Prince  Albert  of  Savoy.     Louvre,  Paris. 

Monument  of  Charles  de  Magny.  "  " 

Van  Cleves,  Cornelius.     Polyphemus  on  the  Rock.  "  " 

Verocchio,  Andrea.     Bronze  David.  Museum  of  the  Bargello,  Florence. 

Equestrian  Statue  of  CoUeoni.        Front  of  SS.  Giovanni  e  Paolo,  Venice. 
Vinci,  Pierino  da.     Death  of  Count  Ugolino  and  his  Sons. 

Palace  of  Count  of  Gherardesca,  Florence. 

Madonna  and  Child  with  Saints.  Uffizi  Gallery,        " 

Restoration  of  Pisa.  Vatican,  Rome. 

Vischer,  Johann.     Monument  of  Bishop  Bibra.  Cathedral,  Wiirzburg. 

Vischer,  Peter.     Tomb  of  S.  Sebald.  S.  Sebald,  Nuremberg. 

Monument  of  Bishop  Ernst.  Cathedral,  Magdeburg. 

Monumental  Relief.  Cathedral,  Ratisbon. 

Statue  of  Apollo.  Gallery  of  Rathhaus,  Nuremberg. 

Weeks,  Henry.     Bust  of  Southey.  Westminster  Abbey,  London. 

Bust  of  Zachary  Macaulay.  "  "  " 

Victoria. 
Westmacott,  Bichard.     Monument  of  Dr.  Howley.        Cathedral,  Canterbury. 

Monument  of  Earl  of  Hardwicke.  Wimpole. 

Wycliffe  Preaching  (Bas-relief).  Church,  Lutterworth. 

Westmacott,  Sir  Richard.     Monument  to  Fox.       Westminster  Abbey,  London. 

Monument  to  Percival.  "  "  " 

"  Mrs.  Warren.  "  "  " 

"  Generals  Pakenham  and  Gibbs.  St.  Paul's,  " 

Statue  of  Duke  of  Wellington.  Hyde  Park  Corner,  " 

Wilton,  Joseph.     Monument  to  General  Wolfe.        Westminster  Abbey,        " 
Wyatt,  Mathew  Cotes. 

Monument  of  Princess  Charlotte.  St.  George's  Chapel,  Windsor. 

Equestrian  Statue  of  Duke  of  Wellington.        Green  Park  Arch,  London. 

Statue  of  George  III.  Pall  Mall,       " 

Monument  to  Lord  Nelson.  Liverimol. 


AVUUKS  IN  MODERN  SCULPTUllE  323 


INTERESTING   WORKS  IN    MODERN  SCULPTURE 
IN  T^HE  UNITED  STATES. 


Bailly,  Joseph  A. 

Wa.-hington  Monument.  Front  of  Old  State  Ilouse,  Philadelphia. 

The  First  Prayer.  Coll.  of  Mr.  Henry  C.  Gibson,  " 

Tlie  Expulsion  from  Eden.  "  "  "  " 

.^tatuf  of  General  John  A.  Rawlins.  Rawlins  Sijiiare,  Washington. 

Ball,  Thomas. 

Equestrian  Statue  of  Washington.  Public  Garden,  Boston. 

Emancipatiou  Monument.  Lincoln  Square,       " 

Statue  of  John  Albion  Andrew.  State  House,       *' 

"        Daniel  Webster.  Central  Park,  New  York. 

Bartholdi,  Auguste. 

Iri.zc  in  liigli  relief,  representing  Baptism,  Communion,  Marriage,  and 
Death,  with  statues  of  Augels  of  the  Judgment. 

Tower  oj"  the  Brattle  Square  Church,  Boston. 
Bartholomew,  Edward  Sheffield. 

Evo  Repeiitani.  Wadsworth  AthencBum,  Hartford. 

Sapph.,.  "  "  " 

Diana.  "  "  " 

Brown,  Henry  Kirke. 

Eijuestrian  Statue  of  Washington.  Union  Square,  New  York. 

Statue  of  General  Greene.  National  Statuary  Hall,  Washington. 

Equestrian  Statue  of  General  Scott. 

Comer  of  Massachtiselts  and  Rhode  Island  Avenues,  Washington. 

Bas-relief.  Church  oj  the  Annunciation,  New  York. 

Angel  of  the  Resurrection.  Greenwoixi  Cemetery,  " 

Must  of  John  C.  Breckenridge.  Corcoran  Gallery  of  Art,  Washington. 

Calverly,  C. 

I!u-t  r,f  .I(,lin  I'niwn.  Union  League  Club,  Neio  York, 

Caroni,  Prof.  Emanuele  (Florence). 

liiirly  Vnutli  (La  I'rinia  Gioventu).     Corcoran  Gallery  of  Art,  Washington. 
Civiletti,  Benedetto  (ralcmiu). 

MoiiuiiHiil  <if  Miss  I^wton.  Sarfinnnh. 

Foley,  John  Henry,  R.  A. 

.Staiui"  t,f  (jLiierai  ("  Stonewall  ")  Jackson.  Richmond. 

French,  Daniel  C.     Tlie  Minute  Man.  Old  Bnttl,  Gnuitul,  Concord. 

Gould,  Thomas  B. 

Statue  of  .Ii.jiii  Albion  Andrew.  Cemetery,  Hinghmn. 


324  IN   THE  UNITED   STATES. 

Greenough,  Bichard  S. 

Statue  of  John  Winthrop.  Chapel  at  Mount  Auburn,  near  Boston. 

Gregoire,  Hugo  (Alsace).  Corcoran  Gallery  of  Art,  Waskhujton. 

Guarnerio,  Pietro  (Milan). 

The  Forced  Prayer  (La  Preghiera).    Corcoran  Gallery  of  Art,  Washington. 
Hosmer,  Harriet  G. 

Will  o'  the  Wisp.  Museum  of  Fine  Arts,  Boston. 

Puck.  Collection  of  Hon.  Samuel  Hooper,        " 

Zenobia.  Collection  of  A.  W.  Griswold,  Esq.,  New  York. 

CEnone,  Shepherd  Wife  of  Paris.    Coll.  of  Way  man  Crow,  Esq.,  St.  Louis. 

Bust  of  Daphne.  "  "  "  u 

Beatrice  Cenci.  Mercantile  Library,  " 

Statue  of  Colonel  Benton.  Lafayette  Park,  " 

Kreling,  Albert  von. 

The  Tyler  Davidson  Fountain.  Cincinnati. 

MacDonald,  Wilson. 

Statue  of  Fitz-Greene  Halleck.  Central  Park,  New  York. 

Meade,  Larkin  G. 

Lincoln  Monument.  Springfield. 

Statuette  of  Echo*.  Corcoran  Gallery  of  Art,  Washington. 

Milmore,  Martin.     Memorial  Sphinx.  Mount  Auburn,  near  Boston. 

Bust  of  Hon.  George  Ticknor.  Public  Library,       " 

Soldiers'  Monument.  Common,       " 

Soldiers'  Memorial  (an  adaptation  of  Thorvaldsen's  Lion  at  Lucerne). 

„.,  Colby  University,  Waterville. 

Mills,  Clark. 

Equestrian  Statue  of  General  Andrew  Jackson.     (The  metal  of  guns  and 
mortars  captured  by  the  General  at  Pensacola  was  used  in  the  casting.) 

Lafayette  Square,  Washington. 
Equestrian  Statue  of  Washington.  Washington  Circle,  " 

Bust  of  Washington.     (From  Houdon's  original  in  plaster.) 

Corcoran  Gallery  of  Art,  " 

Rauch,  Christian  Daniel  (Berlin). 

Bust  of  Alexander  von  Humboldt.   Corcoi-an  Gallery  of  Art,  Washington. 
Bust  of  Victory.  Lenox  Library,  New  York. 

Eimmer,  Dr.  William. 

Statue  of  Alexander  Hamilton.  Commonwealth  Avenue,  Boston. 

Rinehart,  William  H. 

Clytie.  Peabody  Institute,  Baltimore. 

Clytie  (cast).  Corcoran  Gallery  of  Art,  Washington. 

Endj'mion.  "  "  "  " 

Sleeping  Children.  "  "  "  '< 

Bronze  Door.     (Executed  from  designs  by  Crawford.) 

Capitol,  Washington. 
Rogers,  Randolph.    Bronze  Door.  »  " 

Angel  of  the  Resurrection.  Monument  of  Colonel  Colt,  Hartford. 

Soldiers'  Monument.  Providence. 

Statue  of  John  Adams.  Chapel  at  Mount  Auburn,  near  Boston. 

William  H.  Seward.  Madison  Sqtiare,  New  York. 


MODERN  SCULPTURE  IN  TliE  UNITED  STATES.  325 

Simmons,  Franklin. 

Statue  of  linger  Williams.  National  Statuai-y  fTall,  IVashivf/hm. 

"  "  "  Royer  Williams  Park,  Providence. 

Stebbins,  Emma. 

iHtlu^da  Fi)untain.  Central  Park,  Xew  York. 

Statue  iif  Colmnbus.  "  "  " 

Steell,  Sir  John  (Dundee). 

Statue  of  Sir  Walter  Scott.  Central  Park,  Xeio  Vork. 

Robert  Burns.  "  "  " 

Bust  of  Sir  Walter  Scott.  Lenox  Library,  " 

"       Dr.  Cliahners.  "  "  " 

Saint-Gandens,  Augustus. 

statue  of  Admiral  Farra,i;ut.  Madison  Square,  New  York, 

Stone.  Horatio. 

Statue  nf  Alexander  Hamilton.         National  Statuary  I/all,   Washington. 
Story,  William  Wetmore. 

Statue  of  Judge  Story.  Chapel  at  Mount  Auburn,  near  Boston. 

"        Edward  Everett.  Public  Garden,       " 

Thompson,  Launt. 

Statue  of  Abraham  Pierson.  *  New  Haven. 

General  Winlield  Scott.  Soldiers'  Home,  near  Washini/ton. 

"       Napoleon.  In  possession  of  Mr.  Pinchot,  Milford,  Pa. 

Trentanove.  Baimondo. 

l!u-t  i.f  Wa.-hington,  Lenox  Library,  New  York. 

Napiileou.  "  "  " 

Triqueti,  Henri  de. 

Viru'il  and  1  »aiite.  Museum  of  Fine  Arts,  Boston. 

Trombetti.  Ezechiele  (Milan). 

l  lie  I  ir-t  Steps  (I  I'rimi  I'assi).       Corcoran  Gallery  oj"  Art,  Washington. 
Vela,  Vincenzo  (Milan). 

The  Last  Days  of  Napoleon  I.  (Gli  ultimi  Giomi  di  Napoleons  primo).    A 
replica  of  the  Statue  at  Versailles. 

Corcoran  Gallery  of  Art,  Washinyton. 
(Vincenzo  Vela  was  a  native  of  Switzerland,  born  in  1822,  died  in  1891. 
He  was  one  of  the  mo^t  gifted  of  modern  sculptors;  his  work  is  espe- 
cially remarkable  for  repose  and  grandeur  of  expression.) 
Ward,  John  Quincy  Adams. 

The  Good  Samaritan.     (Memorial  of  the  discovery  of  anaesthetics.) 

Public  Garden,  Boston. 
Statue  of  Slmkespeare.  Central  Park,  New  York. 

Indian  Hunter.  " 

Statue  of  Commtxlore  Perry.  Park,  Newport. 

Indian  Hunter  an.l  Dog.  Coll.  of  J.  C  McGuire,  AV/.,  Washinyton. 

Statue  of  Israel  Putnam.  Bushnell  Park,  Hartford. 


ANCIENT  GEECIAN  AND  EOMAN  SCULPTOES. 


Agasias. 


Agesander. 

Agoracritus. 

Alcamenes. 

Apollonius  (first). 

Apollonius  (second). 

Aristocles. 

Boedas. 

Bryaxis. 

Calamis. 

Callimachus. 

Gallon. 

Canachus. 

Cephisodotus  (the  elder). 

Cephisodotus  (the  younger). 

Chares  (of  Lindos). 

Cleomenes. 

Colotes. 

Cresilas. 

Daippus. 


Dionysius. 

Euthycrates. 

Eutychides. 

Glaucus. 

Glycon. 

Leochares. 

Lycius. 

Lysippus. 

Lystratus. 

Myron. 

Naucydes. 

Onatas. 

Phidias. 

Polycletus  (the  elder). 

Polycletus  (the  younger). 

Praxiteles. 

Pythagoras. 

Scopas. 

Tauriscus. 

Timarchus. 

Timotheus. 


REXAISSAXCE   AND   MODERN   SCULPTORS. 


American. 


Brown,  Henry  Kirke. 
Crawford.  Thomas  6. 
Dexter,  Henry. 
Frazee,  John. 
Greenough,  Horatio. 
Hart,  Joel  T. 
Mills,  Clark. 


Milmore,  Martin. 
Powers,  Hiram. 
Rineliart,  William  Henry. 
Rogers,  Randolph. 
Story,  William  Wetmore. 
Weeks,  Henry. 


Daxiish. 

ThofA'aldsen,  Bertel. 


English. 


Bacon,  John. 
Banks,  Thomas. 
Behnes,  William. 
Campbell,  Thomas. 
(  hantrey,  Sir  Francis, 
(ibber,  Cains  Gabriel. 
Pamer,  Anne  Seymour. 
Foley,  John  Henry. 
Flaxman,  John, 
(jibbons,  Grinliiig. 


Gibson,  John. 
Nollekens,  Joseph. 
Rossi,  John  Charles  Felix. 
Stevens,  Alfred. 
Westmacott,  Richard. 
Westmacott,  Sir  Richard. 
Wilton,  Joseph. 
Wyatt,  Mathow  Cotes. 
Wyatt,  Richard  J. 


French. 


.\nguier,  Francois. 
Anguier,  Michel. 
Barj'e,  .\ntoine  Louis. 
Hosio,  Francois  Joseph. 
Ufiuthanlun,  Kdin*'-. 
Chaudel,  Antoine  Denis. 
Colomb.  .Michel. 
Cortot,  Jean  Pierre. 
Coustou,  Giiillaum. 
Coustou,  Niciilafi. 
Coy»evox,  Charles  Antoine. 
David,  Pierre  Jean. 
Duquesnoy.  Fran(^ois. 


Fremin,  Ren<5. 
Girardon,  Fran9oi8. 
Goujiin,  Jean. 
Giiillain,  Simon. 
Houdon,  Jean  Antoine. 
Juste,  Jean. 
Juste,  Juste  le. 
Leniairc,Pliilipp€  Henri. 
Im  Mot,  Francois  Frederique. 
Lc  Moyne,  Jean  Baptists. 
Le  Moyne,  Jean  Louis. 
Lorrain,  Robert  le. 
Lucas,  Francois. 


328       RENAISSANCE  AND  MODERN   SCULPTORS. 


Masson,  Fran9ois. 
Michallon,  Claude. 
Pajou,  Augustin. 
Pigalle,  Jean  Baptiste. 
Pilon,  Germain. 


Pradier,  Jacques. 
Puget,  Pierre. 
Roland,  Philippe  Laurent. 
Roubiliac,  Louis  Fran9ois. 
Rude,  Fran9ois. 


German,  Flemish,  and  Dutch. 


Adam,  Gaspard. 
Adam,  Lambert  Sigisbert. 
Adam,  Nicolas  Sebastien. 
Begas,  Rheinhold. 
Cleves,  Cornelius  Van. 
Dannecker,  Johann  Heinrich. 
Delvaux,  Laurent. 
Drake,  Friedrich. 
Krafft,  Adam. 
Kiss,  Augustus. 
Labenwolf,  Pankraz. 
Ranch,  Christian  DanieL 
Rietschel,  Ernst. 


Roland,  Philippe  Laurent. 
Schadow,  Johann  Gottfried. 
Schadow,  Johann  Rudolf. 
Scheemakers,  Pieter. 
Schievelbein,  Herman. 
Schliiter,  Andrea. 
Schwanthaler,  Ludwig  MichaeL 
Stoss,  Veit. 

Tieck,  Christian  Friedrich. 
Vischer,  Herman. 
Vischer,  Johann. 
Vischer,  Peter. 


Italian. 


Algardi,  Alessandro. 

Amadeo,  Giovanni  Antonio. 

Ammanati,  Bartolommeo. 

Area,  Niccolo  dell',  i 

Bandinelli,  Baccio. 

Bandini  (Giovanni  dell'  Opera). 

Begarelli,  Antonio. 

Bernini,  Giovanni  Lorenzo. 

Betto  Bardi,  Donato  di  (Donatello). 

Bologna,  Jean  de. 

Brunellesco,  Filippo. 

Buonarotti,  Michael  Angelo.  ^ 

Camiano,  Tino  di. 

Canova,  Antonio. 

Cellini,  Benvenuto. 

Cioli,  Valerio. 

Clone,  Andrea  (Orcagna). 

Clementi,  Prosper©  (Spani). 

Danti,  Vincenzo. 

Donatello  (Donato  di  Betto  Bardi). 

Fiesole,  Mino  da. 

Ghiberti,  Lorenzo. 

Guglielmo,  Fra. 

Leopardo,  Alessandro. 

Lombardo,  Alfonso. 

Lombardi,  Girolamo. 

Lorenzi,  Battista. 


Maderno,  Stefano. 
Majano,  Benedetto  da. 
Masuccio  (the  elder). 
Masuccio  (the  j'ounger). 
Merliano  (Giovanni  da  Nola). 
Michael  Angelo  Buonarotti. 
Michelozzi,  Michelozzo. 
Montelupo,  Baccio  da. 
Montelupo,  Rafael  da. 
Montorsoli,  Fra  Giovanni  Angelo. 
Nola,  Giovanni  da  (Merliano). 
Opera,  Giovanni  dell'  (Bandini). 
Orcagna,  Andrea  (Clone). 
Pericolo,  Niccola. 
Pisano,  Andrea. 
Pisano,  Giovanni. 
Pisano,  Niccola. 
Pisano,  Nino. 
Pollajuolo,  Antonio. 
Porta,  Fra  Guglielmo  della. 
Querela,  Jacopo  della. 
Robbia,  Luca  della. 
Rossellino,  Antonio. 
Rossellino,  Bernardo. 
Rustici,  Giovan-Francesco. 
Sangallo,  Francesco  da. 
Sansovino,  Andrea. 


RENAISSANCE  AND   MODERN   SCULPTORS.       329 


Sansovino  (Jacopo  Tatti). 
Santacroce,  Girolamo. 
Settiirnano,  Ui-siderio  da. 
Spani  (Prospero  Clcmenti). 
Tatti,  Jacopo  (Sansoviuo). 


Torrigiano,  Pietro. 
Trebatti,  Paolo  Ponzio. 
Vcrocchio,  Andrea. 
Vinci,  Leonardo  da. 
Vinci,  Pierino  da. 


Russian. 

Martos,  Ivan  Petrovitch. 


Alvarez,  Don  Jos^. 
Alvarez,  Don  Manuel. 
Berruguete.  Alouso. 
Cano,  Alonso. 
Hernandez,  Gregorio. 


Spanish. 


Jordan,  Esteban. 
Montaiies,  Juan  Martinez. 
Roldan,  Luise. 
Roldan,  Pedro. 


GE^EEAL  II^DEX. 


Adam,  Gaspard,  194. 

Adam,  Lambert  Sigisbert,  192. 

Adam,  Nicholas  Sebastien,  193. 

Agasias,  37- 

Ageladas.  5. 

Agesander,  36. 

Agoracritus,  21. 

Alcamenes,  18. 

Algardi,  Alessandro,  176. 

Alvarez,  Don  Jose,  231. 

Alvarez,  Don  Manuel,  232. 

Aniadeo,  (liovanni  Antonio,  91. 

Ammanati,  Bartolommeo,  160. 

Anguier,  Francois,  178. 

Anguier,  Michel,  179. 

Apollonius  (tirst),  40. 

Apollonius  (second),  42. 

J.Tca,  Niccolo  dell',  65. 

Ariotocles,  4. 

Bacon,  John,  203. 

Bandinelli,  Baccio,  148. 

Bandini  (Giovanni  dell'  Opera),  150. 

Banks,  Thomas,  198. 

Barj-e,  Antoine  Loui.".  265. 

Begarelli,  Antonio,  153. 

Begas,  Kheinhold,  273. 

Behnes,  William,  2(;4. 

Bernini,  Giovanni  Lorenzo,  173. 

Berruguete,  Alonso,  147. 

Betto  Bardi,  Donatodi  (Donatello),  73. 

Bfinlas,  35. 

IVjlogtia,  Jean  de,  107. 

Bosio,  Francois  Joseph,  232. 

Bouchardon,  Edm<',  191. 

Brown,  Henry  Kirke,  299. 

Brunellesco,  Filippo,  65. 

Brya.xit,  28. 

Biionarotti,  Michael  Angelo,  124. 

Calami.H,  7. 

CalliraachuB,  24. 


Gallon,  6. 

Cambio,  Arnolfo  del,  51. 
Camiano,  Tino  di,  51. 
Campbell,  Thomas,  259. 
Cauachus,  4. 
Cano,  Alonso,  178. 
Canova,  Antonio,  211. 
Cellini,  Benvenuto,  155. 
Cephisodotus  (the  elder),  26. 
Cephisodotus  (the  younger),  27. 
Chantrey,  Sir  F'rancis,  253. 
Chares  (of  Lindos),  35. 
Chaudet,  Antoine  Denis,  229. 

Gibber,  Caius  Gabriel,  182. 

Cioli,  Valeric,  150. 

Clone,  Andrea  (Orcagna),  60. 

dementi,  Prospero  (Spani),  159. 

Cleomenes,  39. 

Cleves,  Cornelius  Van,  184. 

Colomb,  Michel,  100. 

Colotes,  22. 

Cortot,  Je^n  Pierre,  234. 

Coustou,  Guillaume,  183. 

Coustou,  Xicolas,  183. 

Coysevox,  Charles  Antoine,  183, 

Crawford,  Thomas  G.,  293. 

Cresilas,  22. 

Daippus,  35. 

Damer,  Anne  Seymour,  206. 

Dannecker,  Johann  Heinrich,  221. 

Daiiti,  Vincenzo,  119. 

David,  Pierre  Jean,  256. 

Delvau.x,  Laurent,  188. 

Dexter,  Henry,  297. 

Dionysius,  5. 

Donatello  (Donatodi  Betto  Bardi),  73. 

Drake,  Fricdrich,  282. 
Ducjuesnoy,  Fran<;'oi»,  172. 
Euthycratos,  35. 
Eutychides,  35. 


332 


GENERAL  INDEX. 


Fiesole,  Mino  da,  93. 
Flaxman,  John,  209. 
Foley,  John  Henry,  302, 
Frazee,  John,  260. 
Fremin,  Rene,  187. 
Ghiberti,  Lorenzo,  69. 
Giam-Bologna,  167. 
Gibbons,  Grinling,  184. 
Gibson,  John,  261. 
Girardon,  Fran90is,  183. 
Glaucus,  5. 
Glycon,  34. 
Goujon,  Jean,  169. 
Greenough,  Horatio,  288. 
Guglielmo,  Fra,  51. 
Guillain,  Simon,  172. 
Hart,  Joel  T.,  292. 
Hernandez,  Gregorio,  148. 
Houdon,  Jean  Antoine,  203. 
Jacquio,  Ponce,  167. 
Jordan,  Esteban,  148. 
Juste,  Jean,  154. 
Juste,  Juste  le,  155. 
Kraffl,  Adam,  98. 
Kiss,  Augustus,  272. 
Labenwolf,  Pankraz,  118. 
Lemaire,  Philippe  Henri,  267. 
Le  Mot,  Fran9ois  Frederique,  243. 
Le  Moyne,  Jean  Baptiste,  193. 
Le  Moyne,  Jean  Louis,  193. 
Leochares,  28. 
Leopardo,  Alessandro,  109. 
Lombardi,  Alfonso,  150. 
Lombardo,  Girolamo,  160. 
Lorenzi,  Battista,  150. 
Lorrain,  Robert  le,  193. 
Lucas,  Fran9ois,  200. 
Lycius,  10. 
Lysippus,  33. 
Lj'sistratus,  35. 
Maderno,  Stefano,  170. 
Majano,  Benedetto  da,  106. 
Martos,  Ivan  Petrovitch,  227. 
Masson,  Fran9ois,  205. 
Masuccio  (the  elder),  59. 
Masuccio  (the  }'ounger),  59. 
Merliano  (Giovanni  da  Nola),  152. 
Michael  Angelo  Buonarotti,  124. 
Michallon,  Claude,  208. 
Michelozzi,  Michelozzo,  88. 
Milanese,  162. 


Mills,  Clark,  300. 

Milmore,  Martin,  306. 

Montaiies,  Juan  Martinez,  177. 

Montelupo,  Baccio  da,  108. 

Montelupo,  Rafael  da,  109. 

Montorsoli,  Fra  Giovanni  Angelo,  157. 

Myron,  9. 

Naucydes,  26. 

Nola,  Giovanni  da  (Merliano),  152. 

Nollekens,  Joseph,  200. 

Onatas,  6. 

Opera,  Giovanni  dell'  (Bandini),  150. 

Orcagna,  Andrea  (Clone),  60. 

Pajou,  Augustin,  197. 

Pericolo,  Niccolo  (Tribolo),  121. 

Phidias,  11. 

Pigalle,  Jean  Baptiste,  194. 

Pilon,  Germain,  165. 

Pisano,  Andrea,  56. 

Pisano,  Giovanni,  51. 

Pisano,  Niccola,  45. 

Pisano,  Nino,  59. 

Pollajuolo,  Antonio,  103. 

Polycletus  (the  elder),  24. 

Polycletus  (the  younger),  25. 

Porta,  Fra  Guglielmo  della,  162. 

Powers,  Hiram,  283. 

Pradier,  Jacques,  258. 

Praxiteles,  30. 

Puget,  Pierre,  180. 

Pythagoras,  9. 

Querela,  Jacopo  della,  62. 

Rauch,  Christian  Daniel,  246. 

Rietschel,  Ernst,  273. 

Rinehart,  William  Henry,  304. 

Robbia,  Luca  della,  90. 

Rogers,  Randolph,  305. 

Roland,  Philippe  Laurent,  205. 

Roldan,  Luise,  178. 

Roldan,  Pedro,  178. 

Rossellino,  Antonio,  96. 

Rossellino,  Bernardo,  97. 

Rossi,  John  Charles  Felix,  228. 

Roubiliac,  Louis  Francois,  189. 

Rude,  Fran9ois,  255. 

Rustici,  Giovan-Francesco,  143. 

Sangallo,  Francesco  da,  121. 

Sansovino,  Andrea,  119. 

Sansovino  (Jacopo  Tatti),  145. 

Santacroce,  Girolamo,  153. 

Schadow,  Johann  Gottfried,  230. 


GENERAL  INDEX. 


333 


Schadow,  Johann  Rudolf,  256. 

Scheemakers,  I'ieter,  188. 

Schievelbeiii.  Ilermaii,  '273. 

Schliiter,  Andrea,  186. 

Schwanthaler,  Ludwig  Michael,  269. 

Scopas,  28. 

Settigiiano,  Desiderio  da,  95. 

Spani  (Pro^pero  Clenieuti),  159. 

Stevens.  Alfred,  301. 

Story.  William  Wetmore,  303. 

Stoss.  Veit,  lu-l. 

Tauriscus,  40. 

Tatti,  Jacopo  (Sansovino),  145. 

Thorvaldsen,  Bertel,  234. 

Tieck,  Christian  Friedricb,  245. 

Tiinarchus,  27. 

Timotheus,  28. 


Torrigiano,  Pietro,  122. 
Trebatti,  Paolo  Ponzio,  1G6. 
Tribolo  (Xiccolo  Pericolo),  121. 
Van  Cleves,  Cornelius,  184. 
Vela,  Vincenzo,  325. 
Verocchio,  Andrea,  101. 
Vinci,  Leonardo  da,  110. 
Vinci,  Pierino  da,  163. 
Vischer,  Hermann,  118. 
Visclier,  Johann,  118. 
Vischer,  Peter,  115. 
Weeks,  Henry.  298. 
Westmacott,  Richard,  268. 
Westniacott,  Sir  Richard,  244. 
Wilton,  Joseph,  196. 
Wyatt,  Mathew  Cotes,  252. 
Wyatt,  Richard  J.,  267. 


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